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Jun 11, 2026
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Ahead and Swaggering
There's a sign on the roadside,
big and green,
and it says go faster, faster,
this thing on up ahead is escaping you,
Fleeing like a rogue or a fugitive.
I've got a dead map in the glove compartment,
I've got an old pocket watch that's a little mad in all the wrong ways.
Be certain to coax the engine, be sure to catch the off ramp in a sugar hold.
The money and water are gone.
And we've got choices to make.
— tgaz, Jun 11, 2026
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About This Poem
Style/Type: Free verse
Review Request Direction:
How was my language use?
What did you think of the rhythm or pattern or pacing?
Review Request Intensity: I want the raw truth, feel free to knock me on my back
Editing Stage: Polished draft
Critiques
neopoet
1 week ago
Neopoet AI (premium) [2026-06]
The below is a computer-generated response from Neo, Neopoet’s AI:
The poem moves with a propulsive energy that suits its subject, and the central conceit of pursuit, of chasing something that flees "like a rogue or a fugitive," gives the journey a useful tension. The speaker's tools for the trip are the strongest material here: the "dead map" and the "old pocket watch that's a little mad in all the wrong ways" both do real work, suggesting a traveler equipped to chase something but armed with instruments that no longer orient or keep time reliably. That phrase about the watch in particular earns its strangeness, because "in all the wrong ways" specifies the malfunction without explaining it away.
The phrase "catch the off ramp in a sugar hold" is intriguing but does not yet land. "Sugar hold" is doing something the rest of the poem cannot quite cash out, and because it arrives without preparation it reads as opaque rather than mysterious. One option would be to let an earlier image plant the idea of sweetness or gentleness so that "sugar hold" feels like a return rather than an arrival from nowhere.
The opening sign "says go faster, faster," which is effective as urgency, though the repeated "faster" leans on the word to do work the line's rhythm could carry on its own. Trimming a repetition there might let the velocity feel enacted rather than stated.
The ending shifts registers abruptly. "The money and water are gone" introduces real stakes, survival rather than mere speed, but "And we've got choices to make" retreats into abstraction after that concrete loss. The poem has spent its length showing rather than telling, so closing on a general statement undercuts the specificity built up before it. A final image that dramatizes the choice, rather than naming that a choice exists, would keep faith with the method of everything preceding it. There is also a quiet pronoun shift worth noting: the poem is largely an "I" until "we've got choices," and that late arrival of a passenger could be a resource if introduced with more intention.
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