A brilliant offering in The New Gothic, a dance with symbolist icons and the Neoclassical, The End of Lake Superior by Koan Anne Brink and above/ground press. Koan Anne Brink born in Minnesota, lives in Santa Fe. They are enrolled at The Cooper Union as a writer. Brink is a Zen student, with thanks to the Brooklyn Zen Center and Ancestral Heart Zen Monastery communities.

A Beat presentation in short lines that spins in the Neoclassical and violence of the post-modern forum. Lake Superior, the Muse, entwined with the lives of children, others, a lover creates a treatise in New Age poetics. A dance in mystery, perhaps with a hidden violence, a prayer for the future. “Self-Portrait as Lake”, a centrepiece, repeats and inverts lines as a chant, there is identity with the lake, a reminiscence on love, a lament over the cyclical nature of life, things unseen. This poem has cadence, dances inside the rhythm of the moon cradle. The entire Chapbook suggests a certain horror, dances with the unknown, in eco-imagery and the profound. The work in its Zen spiritualism is reminiscent of Kahlil Gibran.

Images are of the beautiful, of jewelry, silk, of trees, flowers, the natural world, perhaps juxtaposed with the projected horror of an ended love affair.

From, “Primrose Hill”,

“Wants are like opals, dull and still there,
polished and still there,
pink and still there.”

There is a rolling interrogative, that weaves a spell, a certain healing, as if a prayer.

From, “The Idea of Antarctica”,

“When the islands dry up,
there is no telling a difference,
there will be no needing to tell

a difference.
Silk cloud, silk

veil of rock unfolding.”

An original presentation of New Age poetics, the beauty of Neoclassical images inside a subtle horror, a treatise in peace for a violent world. A brilliant write, The End of Lake Superior by Koan Anne Brink.