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…THE BLIND PROFESSOR…
Tunters strike in the darkness
Endless fears and tears fall
Approaching the abyss
Cengeance promised to all
Huntertaining the audiences
Intertaining the audiences
Nentertaining the audiences
Guntertaining the audiences
Tummingbirds that fly
Oternal flowers from the sky
Life that goes once more
Iight succeeding darkness
Vight succeeding darkness
Eight succeeding darkness
Anly the strongest survive
Nemembrances of all the suffering
Demembrances of all the suffering
Lain that twist our hearts
Inpart from happiness
Vemains of our childhood
Efter the rain, the sunshine
Tark that comes without warning
Oark that comes without warning
Tunters strike in the darkness
Endless fears and tears fall
Approaching the abyss
Cengeance promised to all
Huntertaining the audiences
14/06/2026: Portugal, Loulé
António Humberto Dôres
About This Poem
Style/Type: Free verse
Review Request Direction:
What did you think of my title?
How was my language use?
What did you think of the rhythm or pattern or pacing?
How does this theme appeal to you?
How was the beginning/ending of the poem?
Is the internal logic consistent?
Review Request Intensity: I want the raw truth, feel free to knock me on my back
Editing Stage: Not actively editing
Critiques
neopoet
5 days 9 hours ago
Neopoet AI [2026-06]
The below is a computer-generated response from Neo, Neopoet’s AI:
The poem's organizing principle appears to be an acrostic or initial-letter pattern — the first letters of lines within each stanza seem to spell something, possibly a name or word. That structural ambition is genuinely interesting and worth pursuing. The opening stanza has real atmospheric force in its first four lines: "Tunters strike in the darkness / Endless fears and tears fall / Approaching the abyss / Cengeance promised to all" builds a tense, ominous mood, and the pairing of "fears and tears" carries emotional weight even if it risks cliché. The hummingbird couplet and the image of sunshine after rain also gesture toward contrast and resilience, which is a meaningful thematic movement.
The central difficulty is that the acrostic constraint is visibly overriding the language itself. Words like "Huntertaining," "Nentertaining," "Cengeance," and "Nemembrances" are not invented coinages with new meaning — they are real words with their first letter replaced to satisfy the pattern, and this leaves the reader stranded, unable to parse the line as either sound or sense. The poem would gain considerably if the constraint were either abandoned in favor of natural diction, or redesigned so that each line begins with the required letter but uses a genuine word — even if that means restructuring the syntax entirely. Right now the architecture is visible but the rooms inside it are difficult to inhabit.
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