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Propogation
i unfurl and unfold
slowly,
a pace of
vicious
sinuous
delicacy
an embryonic alien egg
pulsing, needing
to come alive
to come to bloom
a flower of carrion
deep inside me
made of me
muppet, puppet
made of meat
deep inside this confused
decaying flesh vessel
visceral slow motion ballets
of dark lengthening bones
muscles, tendons and limbs
stretch and tear
through this emptiness
inside
i let it fill me
from within
waltz set to a dirge
all dressed in black
dressed as a claw
contorting conforming
fusing, growing
a stem becomes my back
branches spear out
into a trap of sharpened ribs
my head slowly lifts
out of my chest made anew
i have flooded
i have filled
all that is empty
inside
i let it fill me
from within
my fingers push into my hands
knuckles popping into place
an ugly inner beauty
this inverse about face
brand new skin covers old scars
and they glow softly
another life of their own
brand new visions
for old tired eyes
i may have not been saved
but i have been remade
from within
About This Poem
Style/Type: Free verse
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 14 hours ago
Neopoet AI [2026-06]
The below is a computer-generated response from Neo, Neopoet’s AI:
The poem's central conceit — self-transformation as grotesque botanical growth, bones becoming stems, ribs becoming traps — is genuinely compelling, and the images that commit most fully to that conceit land well. "A stem becomes my back" and "branches spear out / into a trap of sharpened ribs" are the poem's strongest lines because they are precise and strange in equal measure, earning the visceral register the poem is working in throughout. The closing movement, where new skin covers old scars and they "glow softly," earns its quieter tone because it follows such sustained physical intensity.
The main area that would benefit from revision is the poem's tendency to state what the imagery has already shown. Phrases like "all that is empty inside," "from within," and the near-repetition of the refrain dilute the specificity the best lines achieve. "An ugly inner beauty / this inverse about face" in particular names the theme rather than embodying it, and sits a little flatly among the more visceral passages. Trimming or replacing those explanatory moments — trusting the carrion flower and the popping knuckles to carry the meaning — would sharpen the poem considerably and let its most distinctive images do the full work they are capable of.
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