Joseph B. Haggerty Sr. Author of the novels: Shame: The Story of a Pimp and An Ocean in the Desert Contributor to the PSWA anthology: Felons, Flames and Ambulance Rides Award-winning poet, writer, and lecturer on the sexual exploitation of women and children in prostitution and pornography.
I’m Joseph B. Haggerty Sr. a retired vice detective and academy instructor from the Metropolitan Police Department in Washington, D.C. (35 yrs). I was a Senior Special Agent in Investigations with the Office of the Inspector General for Amtrak (6 yrs). In 2009, I received an award, Heroes of the Heart, from the organization Children of the Nights in California and was recognized as one of the top ten law enforcement officers in the country for rescuing children from the street. I was President of the Writers League of Washington for nine years. I have been a member of the Public Safety Writers Association since 2010. I have a self-published novel, Shame: The Story of a Pimp, which I wrote based on my experiences investigating child predators in prostitution. I was honored to have 3 short stories and 2 poems published in the PSWA anthology, Felons, Flames and Ambulance Rides. I also have another book from Oak Tree Press, titled, An Ocean in the Desert. A number of my poems have been published in my FOP lodge newspaper and Tears on the Walls was recorded on a CD titled Heroes Unsung. I am married with six children, eleven grandchildren, and eight great-grandchildren.
The first book I wrote was because of the way, and movies and television portray prostitution. They make it look glamorous, safe, and profitable. Most serial killers either start out killing prostitutes or easily convert to killing them. For one good reason, they are easy targets. Pimps are the real problem on the street. They are the real criminals. Prostitutes are the pawns used to make the pimps money and are sacrificed just as easily. I wanted to write about what the street is really like. As a vice detective specializing in going after the pimps in Washington, D.C.( excluding Congress), I learned a great deal about how the pimps do their business and how they get their victims and hold them. My book, Shame, The Story of a Pimp, is just that. It’s a story of a pimp from birth to death, how he learned about pimping and became a pimp. It’s a story of sex and violence because that’s the story of prostitution. It’s a story of the sexual exploitation of children by pimps. It’s a story of the pimp world and pimp law. I interviewed over 5000 prostitutes who worked the D.C. streets in my over twenty-seven years on the street and also interviewed hundreds of pimps. Some of my cases are intertwined in the book. I changed names and locations, but the events are the same.
I’ve also written a book, An Ocean in the Desert, where two private investigators specialize in finding missing children. If they find the child has been a victim of a sexual predator, they offer the child’s family an additional service to guarantee their child will never return to that predator.
I’m in the process of writing a third book, tentatively named Craig’s Follies, which is about a male prostitute who became a professional informant for several police departments across the country as well as Washington, D.C.
A publisher has agreed to publish a book of my short stories about the street and my life as an investigator.
As a Public Safety Writers Association(PSWA) member, I have learned a great deal about writing and other aspects of law enforcement, medical situations, and firefighting. Through the list/serv and our conferences, I have had numerous questions, answers, and ideas for handling plots, characters, setting, point of view, and numerous ways to kill people. PSWA has given me confidence and encouragement for the submissions I have made to the various writing contests for which I have won many awards. I would recommend PSWA to anyone thinking about writing or who has been fortunate enough to have a book, short story, or poetry published.
I wrote my first book in less than a year, finishing it in 1987. I wrote it longhand on a legal pad. It took another couple of years to have it put on a computer disc. After finally having it on my computer and another couple of years of editing, I took it to a literary agent. The agent turned me down, saying the book needed too much editing. I went to another literary agent and got the same answer. I did more editing. I couldn’t afford a real editor as the book was over 500 pages. I went to a third agent, who said I had a snowball’s chance in hell of getting published as an unknown writer. In 1999, I joined a writers group, The Writers’ League of Washington. Through their encouragement and confidence-building, I decided to go the route of self-publishing, and my book, Shame, The Story of a Pimp, was published in 2008.
In Shame, I have several subplots. There are three main subplots. Shame’s mother gets involved with a gambling pimp who rips off the mob. I had one of Same’s women kidnapped by another pimp, and a rescue attempt is made. The third is a policewoman who goes undercover as a prostitute to discover the truth about a murdered friend. One other thing, I’m not sure you could call them subplots, but I didn’t want to just concentrate on Shame’s women. A number of other women worked the street, and the reader will read about them. I wanted the reader to know how they got to where they were. I wanted the reader to see the whole street.
With my first two books, I wrote as a pantser, but with Craig’s Follies, I am outlining. I am also writing a book with another member of PSWA, and we’re outlining with that book.
I have to say that my favorite books are the ones that inspired me to write. The first is The Stand, by Stephen King. I’m not a big Stephen King fan, but the characters he created in The Stand are extraordinary. I am a slow reader, and The Stand is a big book, which was a challenge to me. Still, the characters he created were the driving motivation to read the book in its entirety. The second book that inspired me was Cathedral by Nelson Demille. This book was about Irish terrorists that take over St. Patrick’s cathedral in New York. This was one of those books you can’t put down. The action was non-stop, with great characters and a great story.
You can reach me at: email@example.com
I met Jon when I inquired about the low-rez MFA program at the Institute of American Indian Arts (IAIA). Five days later, he had me admitted. During the program he wasn’t just the director, he was a mentor and friend to every student. When I had a serious medical issue that prevented my attendance one semester, he created a remote program that allowed me to complete my requirements and graduate with my cohort.
Jon, I can never thank you enough for your compassion and friendship. Yôotva – Thank You, George
My name is Jon Davis. I was born in New Haven, Connecticut, and grew up in the nearby town of Orange. After graduating high school, I worked for eight years, primarily as a mason and a warehouse manager, before attending the University of Bridgeport. I went on to earn my MFA in Creative Writing from the University of Montana. I taught for 30 years, 28 of them at the Institute of American Indian Arts. In 2013, I founded the IAIA low residency MFA in Creative Writing, which I directed until my retirement in 2018. From 2012-2014, I served as the City of Santa Fe’s fourth Poet Laureate. I have published seven books of poetry, one book of poetry in translation, and six chapbooks of poetry.
My new book of poetry, Above the Bejeweled City, will be available from Grid Books on September 15. Here’s the official book description:
In his seventh poetry collection, Jon Davis exhibits the range and mastery that is the result of fifty years of study, teaching, and practice. Above the Bejeweled City opens and closes with homages to Federico Garcia Lorca’s dream-struck ballad “Romance Sonámbulo.” In between, he inhabits what the philosopher Maurice Merleau-Ponty calls the “inexplicable existence” that marks our passage here on Earth.
Part absurdist, part satirist, part tender correspondent, Davis writes in the slipstream of writers like Joyce, Beckett, Parra, and Plath. In an age that calls out for hopeful verse, Above the Bejeweled City offers, instead, a treatise on defeat and despair—and on how letting go is a way of holding on.
I think of it is as the third book in a tryptich with my previous two books, Improbable Creatures and An Amiable Reception for the Acrobat. All three books were written more or less simultaneously.
Do you write in more than one genre? I write in many genres—poetry and short fiction primarily, but I’ve also written screenplays, plays, creative nonfiction, literary criticism, satire, and songs. My first published writings were record reviews, and for a while, I was the music critic for a weekly newspaper in New Haven, Connecticut. I also write poetry and perform as Chuck Calabreze, an alter-ego of sorts that I developed in the 90s.
What brought you to writing? I was always an avid reader, and, for some reason, when I was in third grade, I suddenly wrote a 23 page story, the hero of which was a young Navajo man who had stumbled across a bag of money—I think some thieves had stashed it. The story followed him as he was pursued by both the authorities and the original thieves. I didn’t know any Navajo names (I was an eight year old living in Orange, Connecticut), so I borrowed an exotic-sounding name I’d seen in the newspapers for my hero: Tse (borrowed from Mao Tse Tung!). Four years later, I began writing imitations of Ralph Waldo Emerson and Henry David Thoreau. (I read both when I was 11 years old.) I’d wander the woods with a journal (I mean, the notebook actually said “Journal” on the cover!), and I’d scribble down my romanticized observations of nature. I still have one of those journals. Trust me, nobody is going to see it.
But I didn’t think of writing as something one devotes oneself to until my 7th grade English teacher talked about James Joyce and his notion of the literary “epiphany. ” I think she defined it as the writer “seeing into the heart of things.” I remember thinking, “I want to do that!” The same teacher also made me stay inside during recess when I didn’t complete my assignments on time (which was most of the time). As “punishment,” she’d make me memorize poems. I remember being given John Donne’s “No Man is an Island.” I thought it was the best punishment ever.
It took a while before I came to poetry myself, though. What finally brought me to writing poetry was a dirt bike accident when I was 18. I was riding alone on a tight dirt track I’d carved out of the woods. It was the first cold morning in November, 16 degrees. I slid hard into the berm on the first turn, but instead of sliding around the turn, the tires bounced off the frozen berm. The bike stopped dead and fell on my calf muscle. I pulled the bike upright, got back on, and rode home. I figured I’d torn my calf muscle (two weeks later, I went to the doctor, and he confirmed my diagnosis), so I hopped up the stairs, sat at my desk, thought, What am I going to do now?—and started writing poems.
I taught myself by reading the generation ahead of mine, so Richard Hugo, Norman Dubie, and others were my teachers at first. In 1977, I wrote a letter and sent some poems to a poet named Dick Allen, whose book I’d found in the mall book store and who taught nearby, at the University of Bridgeport. Dick loved what I’d sent him and invited me to take any course I wanted. The one that fit into my schedule was a 300 level creative writing class. At the first full class, four of my poems appeared at the end of the mimeographed handout. After he’d led lively discussions of the other work on the handout, my poems came up for discussion. Nobody raised a hand, nobody spoke. Dick let the silence continue. He passed the time fiddling with his glasses, poking through papers in his briefcase. Meanwhile, I was thinking, I’m in the wrong class, I need to give up this crazy idea of writing poems, etc. Finally, he stood up and addressed the dumbfounded class. “These poems,” he said, “are instantly publishable in any journal in America.” He went on to tell the class what he knew about me—I was a construction worker, I’d taught myself to write these poems—and the various virtues he saw in my poems, then class ended. I talked to him briefly after class, then drove the twenty minutes home in my battered 68 Buick, sobbing all the way.
Where do you write? What, if any, distractions do you allow? I write wherever I am and write longhand, on a computer, or on my iPhone. Sometimes I record on my iPhone. When I’m writing as Chuck Calabreze, I shout and growl lines and either record them or scribble them down immediately after growling them. I often drive with a notebook beside me and scribble poems (mostly without looking) across the pages. I keep a notebook beside my bed for those times I wake up having dreamt part of a poem. I can write poems no matter what’s happening around me. I’ve written poems in emails and group chats, on Facebook messenger, and in text messages.
Tell us about your writing process. As you might surmise from my previous answer, I don’t have a writing process. In fact, I don’t believe in the idea of a “creative process”; experience tells me poems and stories happen in thousands of different ways. So my approach is to stay open and alert and attentive to the wild world and to my own wildly associative brain. I write notes everywhere, let every glimpse or whimsy, every hurt or big idea, every cluster of words or silly thought, every fleeting buzz or bing into my awareness. I’m apt to drop everything and start writing. Or at the very least, text myself a title, a line, a part of a poem or story or song. I have this idea that the composition / revision divide (process?) is an artificial distinction that was produced by writing workshops. For me, it’s all composition—one fluid (okay, sometimes not so fluid) movement. I suspect that relying on a process will get you processed poems, not quite real poems the way processed “cheese food” isn’t quite cheese.
What are you currently working on? Even before I’d completed Above the Bejeweled City, I was deep into the next collection—by deep, I mean deep for a poet: I have about 30 pages. Some of these poems will appear in State of the Union, a chapbook coming from Finishing Line Press in 2022.
Who’s currently your favorite author? I am currently reading The Glass Constellation by one of my favorite poets, Arthur Sze, whose innovations, developed over fifty years of poetic practice, reveal an entire worldview.
Do you have any advice for new writers? For poets: Imagine what the perfect poem looks like for you, then spend your life trying to write it. Ignore fashion. Ignore equally failure and success.
How do our readers contact you?
My web site: jondavispoet.com
My email: firstname.lastname@example.org
Chuck Calabreze’s blog: voydofcourse.blogspot.com
Copper Canyon Press: https://www.coppercanyonpress.org/books/preliminary-report-by-jon-davis/
I am a poet.
I began seriously writing when I was seven years old. I remember making my first few lines in the diary. I convinced my paternal grandmother to buy it when we went uptown one day. This was during summer break when we, my sister and I, would stay with her for our annual visit. Beans and tortillas were all we ate, running in and out of the kitchen all day long and back outside, gulping a spoonful each time we passed the stove.
Wanting to write was a conscious choice for me at a young age. The book, Frederick the Mouse by Leo Leonni, was my early inspiration. I learned the power of words to make one whole, feel well-fed, and warm through that acclaimed children’s book. Frederick being a mouse poet, helped his family get through the coldest part of winter with his poems when their stores ran out.
Today I am the City of Madison Poet Laureate and the first Latina in this role. I served one-year as of January 2021. I have published three of my own collections of poetry and have a new one coming out soon. I have edited and co-edited books, journals, and zines, including the Spring 2019 edition of the Yellow Medicine Review. I went back in 2015, in my late forties, to get my MFA in poetry from the Institute of American Indian Arts in Santa Fe, New Mexico. I graduated in May 2017.
I also serve as the vice-chair on the Wisconsin Poet Laureate Commission and help pick the state’s poet laureate biennially. I consider myself a literary ambassador in my role as poet laureate. Balancing my volunteerism, writing, appearances, and readings with my full-time job takes some organizing. It helps to have a partner who is an artist as well. We recently made Sundays full art days in our house.
Do you write in more than one genre? I do write in other genres, earning two Pushcart nominations, one for an essay and another for a poem. I write short stories, sci-fi and am working on a memoir right now. I took a class with IAIA alum David Tromblay in Fall 2019 and got a good start on my memoir. Poems are my favorite, though.
Tell us about your writing process: Everything for me starts in longhand. I edit on my computer. When I get stuck, I move it back to the page and write it out in longhand to figure out what went wrong in the editing process. I write in my body: hand to wrist to arm to core to heart to brain and back. I write fast on the page and have long practiced automatic writing. My pen always ahead of my brain, my conscious self. I am often surprised by what comes out on the page. The pen admits what I have been avoiding. That’s when writing gets exciting when you are a conduit of sorts and along for the ride. Sometimes lines come to me at night when I am dreaming. I do edit my poems voraciously and enjoy the rigorous process. I think this is where the real writing is now, in the editing. I find inspiration easy, but then I need to work with what I have created and sculpt it on the page until I am satisfied with form, white space, and sound. Poems take you where they want to go and are not done until you have read them in public. I read my poems aloud as I edit, but they sound different in my study than they do at a venue with actual people present. I do not consider a poem done until it has been shared orally with others. When I was a younger poet, I tried out poems at open mics to test them. Now I can record them and listen back, but it is still worthwhile to share them with others for final edits, in my opinion. Poems sound different when you read them to a live audience that one word makes a difference.I also think it is important to read other poets’ work, old and new. I like the idea of poets in conversation with each other across time and space and genre. Some of my poems are in direct response to another poet’s poem I heard them perform or something I read in print or online. I learned in graduate school that I love theory and continue to study. Listening to poets and writers read their work is a real pleasure for me. How you hear the words in your head versus when it is a public performance is enlightening. I listen to poetry readings, lectures, or conversations with writers when I cook these days or travel to visit my family in Chicago or Milwaukee.
What are you currently working on? I just received my contract from Finishing Line Press for my newest collection, My People Redux. This is the 2nd half of my master’s thesis. In Light, Always Light, also published by FLP in May 2019, was the first half. I graduated in May 2017 and spent a long year re-working my poems. In Light, Always Light, accepted in August 2018, was a finalist for their New Women’s Voices Award.
Concurrently, I am working on another collection of poetry that focuses on the history of us humans. This involves research. I am enjoying the process and taking my time. Some of these poems are published, and some are still being edited. I need to continue to push them out into the world. I was also working on my memoir in fits and starts.
In my role as the poet laureate for the City of Madison, I will be judging the annual Bus Line Poetry contest soon. I have many upcoming scheduled readings for a book I just published under my small press Art Night Books in November 2019 called, Through This Door – Wisconsin in Poems. This is a collaboration with the most recent state poet laureate, Margaret Rozga. The book took us over a year to put out and is the second time we have published a collection together. I served as co-editor for this collection in addition to being the publisher, and we have had a good response. Twice we have been on the radio, NPR stations, and I have logged many hours at the post office mailing books out across the state and country. We had to go back to the printer three times now.
I consider myself a literary ambassador as a poet laureate and this has opened up many doors for me. I want to continue to do that for other writers. We need community and support. I would not be where I am today without the networks I found all along the way. Nor, without people sharing opportunities with me and freely offering up what they know, and being generous. I believe in the power of art to heal, connect and create community. It is a record of our lives and our history. I am so happy to be on this journey at this moment in time.
Here are comments about my work by two poets I admire:
The poems of In Light, Always Light afford space for the lyric to clarify and delineate the self “… through the ravine to the seam / the V peak of the hills / where dappled light spills / between rocks and discarded beer cans.” Here Angela Vasquez presents poems that struggle to contend with family history, a history of diaspora and relation, of assertion and insistence that the reader and the poet must bring to bear the imperative of “yes, yes fight back.” The poems travel, as we do, to observe the poet in the eternal dimension where one must write, and read — “Let me sit in sadness for a spell. / I need to write this out.”
–Joan Naviyuk Kane, 2018 Guggenheim Fellow
The poems in Angie Trudell Vasquez’s In Light, Always Light honor the illuminating power of poetry, but they also speak eloquently of racial injustice and the dark “inherited grief” that is its offspring. These are poems of history, endurance, and remembrance. They vividly story the strength and survival of migrant ancestors “who built railroads / with broken backs” or shared “mole recipes on parchment.” In those relatives “passed. . .to vases of bone and ash,” Vasquez recognizes the fleeting quality of human reality. Like our forebears, we are mere “half blinks of history,” “we are magic dying.” But in this volume, Vasquez offers her ancestors colorful and enduring literary lives. “Poets,” she writes, “resist the death of a people” and “beyond death, art speaks.”
Kimberly Blaeser, author of Apprenticed to Justice, Wisconsin Poet Laureate 2015-2016
If people want to connect with me, the best way is email: email@example.com
My website is www.angietrudellvasquez.com, and my small press website is http://www.artnightbooks.com
We have Beatrice Szymkowiak here to tell us about poetry.
Beatrice and I are alumni of the Institue of America Arts. We graduated with MFAs in 2017. Hers in poetry, mine in fiction writing.
My research includes environmental literature, Indigenous contemporary poetry, and translingual literature. I am also particularly interested in Caribbean literature.
I am currently working on my creative dissertation, entitled B/RDS, a poetry collection that questions the Western heuristic approach to nature, and that has for a starting point, the iconic Birds of America by John James Audubon.
Book title and blurb and any comments about any other of your books:
Red Zone (Finishing Line Press, 2018) explores the WWI environmentally ravaged landscapes of my childhood.
Praise for Red Zone;
“Before the shrapnel, before the night in hell on the way to hell, and after that night, too, we were: ‘naming the woods.’ RED ZONE does a lot of things, but it also draws our eyes to the risk of our own departure. Description, sure. Timing, of course. But cognition and argument also? Szymkowiak makes me want to read more.” Joan Naviyuk Kane
Joan Naviyuk Kane is the author of several poetry collections: Milk Black Carbon, The Straits, The Cormorant Hunter’s Wife, Hyperboreal, Milk Black Carbon, and forthcoming Dark Traffic. She is the recipient of multiple awards, fellowships, and prizes, including a Whiting Writer’s Award, the Donald Hall Prize in Poetry, a Guggenheim Foundation Fellowship, and an American Book Award.
“In a complex meditation on the destructiveness of war and the persistence of nature, poet Beatrice Szymkowiak explores France’s Zone Rouge, the area so devastated by war that people are still forbidden to enter, where things still blossom and explode. Where “crows burst” above the land of “unexploded explosives.” Where “slow soil & / shrapnel” yield to “a murmuration of starlings.” In the long poem “Fleury-Devant-Douaumont,” the page itself becomes the zone, mined & grenaded & shrapnelled by words, words that begin to merge, becoming neologisms of compost—”betweenroots,” “shrapnelspades,” “inboots.” In the end, despite human interventions, “yellow-bellied toads frogs salamanders / crested newts thrive” and “corpses tuber / into russets.” Szymkowiak has written a crucial book, especially critical as the entire globe quickly becomes a Red Zone.” Jon Davis
Jon Davis is the author of several poetry collections, including Improbable Creatures, Preliminary Report, Scrimmage of Appetite, and Dangerous Amusements. He is the recipient of a Lannan Literary Award in Poetry and the Peter I.B. Lavan Prize from the Academy of American Poets.
Do you write in more than one genre? I do write poetry and non-fiction
Tell us about your writing process: My writing process varies following the projects. However, I often start a poem with a list of words, images, and an idea or a conceptual arch. Once I have a first draft, I revise until I feel that the poem does or evokes what I wanted it to do. Then I let it aside for a while and go back to it for additional revisions. This pause between two revision processes is necessary, as it creates a new perspective on the poem.
What is the most challenging part of your writing process? The very first word of a poem!
What kind of research do you do? As my poetry work often incorporates non-fiction, I do extensive research: reading essays, articles, historical documents, watching documentary films, etc.
Looking to the future, what’s in store for you? I am interested in writing more non-fiction, and I have recently developed an interest in epic poems. But you never know what might come up!
How do our readers contact you?
My website: https://szymkow9.wixsite.com/bszymkowiak
Twitter account: @OhOldOcean
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