This is one I loved from another site. It still makes me smile. Critique can't and shouldn't always be encouraging. Sometimes it just needs to get to the point. That doesn't mean it can't be funny.
Here it is:
What a great idea for a poem.
It's too bad your imprecise language and telly reportage are preventing you from turning that great idea into a passable poem.
I don't care, or want to know if you're writing this from personal experience or not.
If you want your readers to believe that your narrator actually witnessed this event, you need to be more precise with your descriptions.
something
something
some
a man
a nearby dog
Someone
You've missed several great opportunities to show your readers what was happening. Instead, we have generic, non-specific, one dimensional cardboard cutout things, people and a dog.
Your opening doesn't work: what possible significance does the fact that *we* were stuck in a meeting all night have? Is the snow real, is it figurative snow, was there white debris from the blast that looked like snow? Who knows?
Your closing doesn't work: It's so awkwardly worded that we assume you're referencing the mental image of the carnage is going to be packed in your luggage. Can't you think of a better way to convey this? Is the sole thrust of the poem intended to be the effect the carnage has on the narrator?
There are logical inconsistencies as well. If N is too far away to identify the spinal column, how on earth can he/she determine that it's the heart on the hood of the car? How could the heart be distinguishable from half a liver, or any other piece of masticated meat?
Try precise description and less generic nothingness.
Try subtlety and less omniscient clinical telling.
Try thinking about what you're trying to say with this piece and then go about trying to say it.
Every single element of the poem should have a purpose. If the element does not contribute to the poem, it shouldn't be there.
Think of the Jarrell's ball turret gunner and the hose.
Subtle is good. Less is more.
Why are Hitchcock's movies so visually frightening?
The famous shower scene in Psycho doesn't show anyone getting stabbed with a kitchen knife.
Try a few dozen rewrites.
Try a few dozen massive rewrites.
Good luck.
Here it is:
What a great idea for a poem.
It's too bad your imprecise language and telly reportage are preventing you from turning that great idea into a passable poem.
I don't care, or want to know if you're writing this from personal experience or not.
If you want your readers to believe that your narrator actually witnessed this event, you need to be more precise with your descriptions.
something
something
some
a man
a nearby dog
Someone
You've missed several great opportunities to show your readers what was happening. Instead, we have generic, non-specific, one dimensional cardboard cutout things, people and a dog.
Your opening doesn't work: what possible significance does the fact that *we* were stuck in a meeting all night have? Is the snow real, is it figurative snow, was there white debris from the blast that looked like snow? Who knows?
Your closing doesn't work: It's so awkwardly worded that we assume you're referencing the mental image of the carnage is going to be packed in your luggage. Can't you think of a better way to convey this? Is the sole thrust of the poem intended to be the effect the carnage has on the narrator?
There are logical inconsistencies as well. If N is too far away to identify the spinal column, how on earth can he/she determine that it's the heart on the hood of the car? How could the heart be distinguishable from half a liver, or any other piece of masticated meat?
Try precise description and less generic nothingness.
Try subtlety and less omniscient clinical telling.
Try thinking about what you're trying to say with this piece and then go about trying to say it.
Every single element of the poem should have a purpose. If the element does not contribute to the poem, it shouldn't be there.
Think of the Jarrell's ball turret gunner and the hose.
Subtle is good. Less is more.
Why are Hitchcock's movies so visually frightening?
The famous shower scene in Psycho doesn't show anyone getting stabbed with a kitchen knife.
Try a few dozen rewrites.
Try a few dozen massive rewrites.
Good luck.
The secret of poetry is cruelty.--Jon Anderson

Anyone who thinks comments need to be dry and generic probably shouldn't be here.