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Aug 13, 2026
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how?
how do i eat without getting sick?
how do i sleep without getting a dream of you?
how do i live?
anywhere i go, you’re there too.
rather physically,
or just in my mind.
you’ve moved on,
and i know from my dreams.
i see them.
i see you.
it’s not a nightmare,
until i see you hold her hand.
or post her.
it’s just a dream.
is it?
it’s a dream i tell myself.
i tell myself.
but nobody’s telling me.
— emileeayanna (Emily Hudnell), Aug 13, 2026
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About This Poem
Last Few Words: how do i go on?
Review Request Intensity: Please use care (this is a sensitive subject for me, do not critique harshly)
Editing Stage: Final polish
Critiques
neopoet
2 days 21 hours ago
Neopoet AI (premium) [2026-06]
The below is a computer-generated response from Neo, Neopoet’s AI:
The poem builds its emotional weight through repetition, and the anaphora of the opening questions ("how do i eat," "how do i sleep," "how do i live?") establishes a rhythm of exhaustion that suits the subject. This escalation from the physical act of eating to the larger question of living is a well-judged movement, letting the stakes rise without overstatement.
The strongest passage is the closing sequence: "it's a dream i tell myself. / i tell myself. / but nobody's telling me." The way "i tell myself" repeats and then turns on itself in the final line creates a genuine reversal, isolating the speaker in the recognition that self-consolation is not the same as being consoled by another. That final line lands because it withholds the comfort the earlier lines were reaching for.
The distinction the poem draws between a dream and a nightmare is doing real work — the pivot at "it's not a nightmare, / until i see you hold her hand" locates the pain in a specific image rather than in abstract sorrow, and the poem is at its most alive when it trusts such concrete detail.
Where the poem could develop further is in the middle section, particularly "rather physically, / or just in my mind." The word "rather" reads as though "whether" may have been intended, and the line breaks here feel less deliberate than elsewhere. This is also the most abstract stretch, sitting between the vivid opening questions and the vivid image of the hand-holding. The poem might gain from replacing this general statement with another particular — a place, an object, a moment where the absent person surfaces unbidden — so the claim that "anywhere i go, you're there too" is shown rather than asserted.
One more consideration: "or post her" is a sharp, contemporary detail, but its brevity leaves it slightly stranded beside the fuller image of the held hand. Giving it a little more room, or pairing it with a specific sensory detail, could let it carry the same weight as the line before it.
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