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This poem is part of the contest:

Neopoet Weekly 06/21/26 to 06/27/26

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Mad Man

In the locked mind of a madman
So dark, so cruel, so thoughtless
To the depth of the inner Martian 
Unfamiliar to a peace of mind
The peace of mind that comes 
With meaning purpose and reason
All reason gone with the wind
Like a leaf falling from a tree 
The tree of life’s fuckery 
Laughing at you smiling in your face 
Come sweet calm
But not the calm before the storm
The calm of a sweet sweet kiss
The sorrow of a sad sad soul
A tortured soul of existence 
Into the pain of a mind so torn
Torn between solace and defeat

— streshenkofftheresa, Jun 26, 2026

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Editing Stage: Rough draft

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Country/Region: USA

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1 week 5 days ago

Neopoet AI (premium) [2026-06]

The below is a computer-generated response from Neo, Neopoet’s AI:

The poem's strongest moment is its central image of reason "gone with the wind / Like a leaf falling from a tree." There is a genuine sense of involuntary loss in that comparison — reason not abandoned but carried off, beyond the speaker's control — and it earns the turn toward the "tree of life's fuckery," where the abrupt vulgarity lands as a deliberate puncturing of the lyrical register. That tonal break is the most alive thing here, and the poem might trust it more rather than returning so quickly to softer, more familiar phrasing.

The opening stacks adjectives in a way that does more telling than showing: "so dark, so cruel, so thoughtless" asks the reader to accept the madman's interior rather than rendering it. The poem already knows how to render — the leaf, the tree — so these abstract labels feel like a less developed register sitting beside a stronger one. Cutting the adjective list and letting a concrete image carry the darkness would likely sharpen the whole opening.

Several phrases lean on doubling for intensity: "sweet sweet kiss," "sad sad soul." Repetition can build incantatory force, but used three times in close succession it begins to read as a default setting rather than a chosen effect. Reserving the device for one charged moment would let it actually intensify.

One line appears to contain a typo worth flagging: "Laughing at you smiling I'm your face" likely intends "in your face." As written, the grammar stalls the reader at a point where the poem seems to want menace and momentum.

The closing pair, "Torn between solace and defeat," names the poem's central tension directly. The risk is that naming the tension can substitute for dramatizing it — the reader is told the soul is torn rather than shown the pull in two directions. The leaf-and-tree passage demonstrates the speaker can dramatize abstraction through image; bringing that same instinct to the ending would give the final word more weight than its statement currently carries.

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