Jeremy Pratt’s body of finished work amounts to more than 800 poems, little of which has been published. By the 1980s, he realized that he needed to quiet the voices of gatekeepers to hear the poetry that wanted to be written. He focused on a poetics of listening and attention, allowing his poetry to come forward in its own time. He gave his poems long fermentation, often maturing through hundreds of drafts over many years.


Earlier, he had appeared in The Rock, Sonoma Review, The Men's Journal, Desert Call, Forefront, Americas Review, and Wingspan, and was recognized by the American Poetry Association. He served as poetry editor for The Men's Journal, wrote the poetry column “A Way In” for Wingspan, and led the Sonoma (California) Creative Expression Workshop for poets, writers and artists .

He is also the author of The  Lucid Hallucinatorium,  several collections of meditations and essays, and the plays Ezra in Pisa and Ezra Agon .  He grew up on Bainbridge Island in Puget Sound and lives and writes on Vashon Island. He graduated from The Evergreen State College in 1976 and received his masters degree from Washington State University in 1978.

It takes time to get it right. Working over decades, often through more than 100 drafts, these poems sought the startling and the lucent at the deepest levels.

Talking too much about one's poetry risks severe damage to the poem. Exposing it too much while writing is like opening a roll of film outside the darkroom. 

A poem is grounded in the discipline of listening deeply, so that, given voice, it may take wing like the flight of many birds.