Echolocation – poems, available now!


Out now from Cirque Press, August 2018!

“Take Flight” by Sarah Klein

“If we have forgotten that poetry is a call sent out into the world to rediscover and name our hearts, minds, and bodies, Kristin Berger’s beautiful new book of poems reminds us of poetry’s good and necessary work.” 

~ Annie Lighthart, author of Lantern and Iron String

$20, includes signed copy, broadside and shipping – email for payment and mailing info.

Booksellers, contact Cirque Press –


Please join me for the book launch!

Aug. 25, 2018, 7-9pm


5441 SE Belmont St

Portland, OR 97215

with Cirque Journal contributors

Judith Barrington, Tara Campbell, Diane Corson, Jeff Fearnside, Paul Haeder, Bruce Parker, Paulann Peterson, Janice D Rubin, Scot Siegel, Carey Taylor, Ingrid Wendt, Nancy Woods

More info and RSVP through Facebook

Poets from Portland & Beyond at the Market!

Announcing our 2018 Season – 12 Poets from Portland & Beyond!

We are so excited to bring you three mornings of poetry this summer, at the Lents International Farmers Market in SE Portland – Sundays at 9:30-10:15, July 1, Aug 5 and Sept 9.

July 1

Ann Tweedy

Endi Bogue Hartigan

Dave Jareki

Marc Olmsted

Ann Tweedy

Aug. 5 (Lents Street Fair!)

Judith Arcana

Tim Boisvert

Darlene Págan

Tim Whitsel

Sept. 9

Amanda Hollander

Stephen Fowler

Tom Richards

Carey Taylor

The Lents International Farmers Market Poetry Series began with a chance meeting in the forests of Oregon’s Coast Range. Meredith Stewart and I connected immediately over a communal fire and Peruvian stew – both Lents residents, poets, women who biked (!), who had a love for our little rugged, urban neighborhood. We wanted to have a venue for emerging poets in Outer Southeast Portland, a place that is often overlooked for its past history of crime and poverty, but an area that is rich in culture and down-to-earth-people. So we took poetry to the Lents International Market, where we knew many diverse paths would cross.

Since 2012, (every year except for 2015), we have featured over 30 emerging and established poets share their work amidst the hustle and unpredictable bustle of a Sunday morning farmer’s market. The result has been poignant harvests of words and new friends. 

You can connect with us on Facebook, where we feature a poem a week from one of our readers, and share local poetry & art news from the community. 

See you at the market!

Kristin & Meredith


Another Read Through Poetry Reading, June 28

I’ll be reading this summer, June 28 at Another Read Through (one of Portland’s indie bookstore gems), at 7pm, with Seattle-poet Ann Tweedy and Scot Siegel. 

Please join us and support your poets, and the booksellers that support them!

Another Read Through

3932 N Mississippi Ave

Portland, OR 97227


Santa Ana River Review, a home for two new poems

So pleased to have new work published in Santa Ana River Review! “Ecolocation” (title poem of a manuscript-in-progress), and “Physics of Fire.” Much gratitude to Kathleen Taylor, Poetry Editor, and the editors & readers at UC Riverside, and the good company.

New poems in Mockingheart Review

Thank you, Clare L. Martin, editor of Mockingheart Review, for including 2 new poems in the current issue. A nice way to start off 2018, in good company!

New work in Plum Tree Tavern

Very nice to end the year with 2 new poems out this month in Plum Tree Tavern –  “Turning Off the News in the Sonoran Desert,” posted today, and “Mary Oliver Leaves the Back Door Open.”  Thank you, Russell Streur, for creating a home for these on his blog.

Peace and light to you in 2018, friends.


Review of How Light Reaches Us

Calyx Journal, Spring/Fall 2017, Vol 30:1


Over 10 years ago, I had one of my first poems published in Calyx, a home and haven for women writers and artists. It feels full-circle to have my first book review of How Light Reaches Us, in Calyx’s Summer/Fall 2017 issue, by non-fiction writer Cindy Mom.

HOW LIGHT REACHES US, Kristin Berger. Kelsay Books, Aldrich Press, 24600 Mountain Avenue 35, Hemet, California 92544, 2016, 72 pages, $14 paper,

Kristin Berger’s dedication, to my loves (pg 5) tells us, even before reading any of the poems, that How Light Reaches Us is a book about passion. Berger’s loves are many and far-flung, and she embraces them all simultaneously: the parched desert and the lush forest, the domesticity of home balanced with a yearning for the wild, the comfort of the familiar and the allure of the unknown. If we take her dedication as a cue, we realize we don’t have to choose. We are given permission to love them all.

In “Summer Triangle,” (pg 53) she invites us to explore:

Tell me, Lone Wanderer—

Does your home country taste of hope?

Do you have enough starlight to travel by?

One season to the next, can you stumble, gladly,

with no map?

Berger herself is a wanderer, a poet with the soul of a biologist. Perhaps that is why her writing has blossomed in writers’ residencies at the H.J. Andrews Experimental Forest and the Starkey Experimental Forest and Range. Rather than lending a dry or scholarly tone to her poems, time spent in the field with biologists has brought a deep understanding of ecology, habitats, and animal life to Berger’s work. “Blaze” (pg 47) is A love letter from a Wolf Mother. “Pushcover” (pg 43) ventures into a darker realm of hunter and hunted: Pelt before death, bones / beaded to nerves. In “The Pain and Bliss of Hibernation” (pg 28) Berger asks:

What would the bear imagine if she could wake, for a moment,

from the creep of winter, peer up the hollowed tree trunk,

            aurora borealis blowing through with a metallic howl—

“Badger” (pg 44) was written as an accompaniment to a photograph taken by artist Gillian Vaughan and is just one example of Berger’s frequent collaborations with other poets, writers, and artists. As the recipient of two writer’s residencies at Playa, in the high desert of Oregon’s outback, she has adopted Playa’s value of exchange, where co-residents can learn from one another. “Our Own Private Alaska” (pg 23) is a collaborative work with poet Scot Siegel, and the book’s cover art “Thunderstorm I” was painted by Rakar West—both past residents of Playa.

Another source of inspiration is the assemblage of colloquial, and sometimes antiquated, landscape terms found in Home Ground: Language for an American Landscape (Trinity University Press, 2006), edited by Barry Lopez and Debra Gwartney. Eddy line, coyote well, jaral, céja, desire path—These and eleven more can be found in an abbreviated, interpreted glossary in the Notes (pg 67). They make an indelible mark on this collection of poems.

                        She has to hold her own, loop

under and around talk of back roads, flatbeds and boys

that go nowhere in this valley that floods

every hundred years with love letters it scrawls to itself.

“Aimless Drainage” (pg 35)


She knew those high, flat rocks

where women ground seed from chaff,

varnished small desert bowls cupping

rain and the resuscitated moon—

where she taught me to drink

slowly, deeply and often.

“Kisstank” (pg 37)

These two landscape-term poems and several others illustrate a strong woman’s place in the world. In “Mere” (pg 34), “Spur” (pg 36), “Stream Sink” (pg 54), “Thalweg” (pg 39), and “Despoblado” (pg 45), women work, dream, struggle, love, and change.

“Kisstank” (pg 37) is not the only place to drink in the desert. Berger’s landscapes of silt, dust, baking heat, hardpan, and barbed wire are tempered with juicy figs, honey, melon, berries, a ripe plum. They don’t appear often, or in large quantities, but sprinkled throughout the book, they are enough to quench our thirst. In one poem, “Talus” (pg 58), these textures are placed directly next to each other in successive lines: cairn to scree / bush to berry.

So, how does light reach us?

It comes to us from a sliver of moon reflecting on the curve of a river, from deep within the blue heart of a glacier, flashing from a high-latitude stippled sea, searing us with the heat of a sage desert, glowing from within a jar of canned peaches. But these lines are merely rough paraphrases of Berger’s poetry. You must read the poems themselves to experience the most brilliant light.

And isn’t that how most dreams are constructed?

Feathers, smoke, salt and palm –

the past we rush towards, the silt-loaded river,

the swing-bridge waiting for us in the dark.

Sonder, in Reverse” (pg 65)


―Cindy Mom, CALYX, Summer/Fall 2017, Vol. 30:1

More of Cindy’s work can be found at her travel & adventure blog, 45-60.