Nate Fish: Brick of Gold

JAC recently spoke with Nate Fish, founder of the Brick of Gold Publishing Company. Brick of Gold publishes the art and writing of incarcerated people and offers art, copy, direction, design, video, and print services. Since 2016, they’ve published three books containing work from incarcerated artists. 

Words Uncaged, 128-G: Art and Writing from a California State Prison is Brick of Gold’s most recent book, a collection of art and writing from inmates at Calipatria State Prison in Southern California. “What you have in your hands is not only a collection of art but a collection of voices,” says Joel Baptiste, one of the inmates. “[We] have amazing stories to share if you’re willing to look and listen.” 

128-G consists of scans of original artifacts from inside Calipatria – drawings on paper, napkins, and other found materials, typed and handwritten letters, birthday cards, and powerful photos from filmmaker Danny Dwyer. All the material in 128-G comes from Words Uncaged, a non-profit organization running art and writing programs in several California prisons.

JAC: How did you become involved in this work? What was your path to where you are today?

NF: I started Brick of Gold in 2016. I never intended to publish art and writing from prisoners. It was just a vanity press to publish my own work and the work of friends. But my childhood friend, Ray Adornetto, was working in prisons in California for an organization called Words Uncaged. Ray sent me the work of the prisoners, and I knew right away I was going to stop publishing myself and start publishing them instead. It was just more impactful than the work professional writers were producing, myself included. We published two collections of prison writing in 2018, and just released our third book with Words Uncaged, 128-G: Art and Writing from a California State Prison. It’s broken into the artbook circuit which was one of our goals for the book. 

JAC: In considering the work of your own organization, what is unique about the programming you have been creating?

NF: Well, first, Words Uncaged deserves the credit. They are the experts, and they are the ones going into the prisons and doing the difficult work. But as for Brick of Gold and the books we’re putting out, we are trying something a little different because we are taking artbook sensibilities to prison publishing. We are basically taking what can be interpreted as gritty, outsider work and making it into beautiful artbooks. I do not think that’s been done before. We want to challenge the art establishment to include this work in their definition of what’s important, and get the books into museum shops and artbook stores so people with resources can see it. The ultimate goal is policy change, but we think we can help move the dial that direction by presenting the work this way. It is very difficult to continue denying people their humanity and liberty once you see and read the books. 

JAC: How have your students impacted your teaching practices and even your own art or creative practices? What has been the most rewarding part of your experience working with incarcerated artists?

NF: I have been writing less and editing more. I have to read and edit and art direct the books with the designers we hire and that takes a lot of time, so I have shifted a bit from writing to curating. But I still do write and publish my own work as well. I am also a visual artist. Crafting our books has definitely sharpened my ability to conceptualize large scale projects in general. I would say though that the work of the prisoners we publish has had more of an emotional impact on me than a professional impact. They’ve taught me more about being a good person than being a good artist. 

JAC: As you know, the JAC is focused on ways in which art can connect those in the prison system with those on the outside. How has this relationship been jeopardized by COVID-19? How have you been keeping connections active during this time?

NF: Yes. Words Uncaged cannot get into prisons right now, like most organizations and individuals doing this kind of work. WU runs programs in Calipatria, Lancaster, and Donovan prisons. There are outbreaks right now in Lancaster and Donovan, and a lot of the guys we work with are very sick. I keep getting messages that Joel or Jimmy or Cory are struggling. I have never even met any of the artists whose work we publish, but I feel like I know them, and it hurts to hear they’re sick. 

JAC: As we navigate this unprecedented time across our national landscape, both concerning Covid-19 and anti-racism protests, what challenges have emerged in your work with artists, specifically those who are impacted by the criminal justice system?

NF: One of the things we’ve done as a reaction to the times is put out a call for work from prisoners specifically about race in America. We want to hear about their experiences and see what solutions they have to offer. It’s important to us that in our projects we are not learning about prisoners, but are learning from prisoners, about ourselves. It’s a bit of a flip in the power dynamic we’re used to seeing with all the voyeuristic prison docs and stuff that have been coming out for decades that sort of fetishize prison. Things are magnified in prison. Every element of life is sort of laid bare, especially when it comes to race. A lot of our guys have transitioned from racist to anti-racist and we want to hear from them how they did it. We should be releasing the book on race in America in 2021. 

JAC: The Justice Arts Coalition, as it grows, will continue to seek out and implement a vision of how to better support teaching artists. In your view, what does a supportive network need to include?

NF: The prison reform scene is awesome but fragmented. There are dozens if not hundreds of orgs working on the same thing often not even knowing about one another. You guys know that better than anyone. It would be awesome to see a unifying organization, one place where all the work lived, and we got some collective bargaining power.

JAC: As our art networks look to the future, how do you hope the pandemic, as well as this period of protest, will alter the public’s understanding of the justice system?

NF: I think the protests are more impactful than the epidemic when it comes to people examining themselves and our society. If anything, the epidemic may cause people to withdraw from thinking about the pain of others because their own resources are likely diminishing. The protests in 2020 are mostly focused on police reform. That’s great. But there was not as much talk about top to bottom reform that includes prison reform. But prison reform will inevitably come back up to the top of the news cycle at some point. It is part of the national conversation and very few things if any are as glaringly in need of reform as the prison system most people agree, even conservatives. I am not a huge fan of the word reform in general. It sounds like we need to just move the line a little bit when I think we need to move it a lot. 

JAC: What led you to JAC, and how has your experience with JAC served your own work?

NF: You guys are at the forefront of bringing awareness to prison art so it didn’t take me long to track Wendy down for a call. She’s helped me get a better understanding of prison art on a national scale, because we have only worked specifically with California Prisons. JAC has a broader reach so I can learn about when and where and how prisoners are making art all over the country because I am still pretty new to this world. 

Head to the Brick of Gold website to purchase their books and learn more about what they do. Profits from 128-G go to Words Uncaged. 

Guest Blog: Chris Trigg

by Chris Trigg

It’s a good thing we’ve got windows or we’d never see the sun. The virus leaped the wall and settled in amongst us. Not that we were sunkissed before it crept in. We’ve been in a state of modified lockdown since march. The modified meaning we got an hour out of our cells to access 1 ten minute call. 5 cells at a time. That reduced to 30 minutes. Then twenty minutes 1 cell at a time. Then nothing. 

In the supermax where I spent years and years and then more years, meeting up with the sun was rare. We went outside 2 or 3 times a week to spend 2 hours in a cage like a dog kennel. We usually were out by 7:30 am and back in by 10 just as the sun crests the 30 foot walls to filter through the layers of fencing that caps the small patio-like area where the cages are.

Devoid of sunlight for years you begin to feel joint pain which you’ll attribute to age, or working out too much. You’ll experience drops in energy and a myriad of other effects. You’ll figure it’s just part of aging. I know I did.

When I finally left and reacquainted myself with the sun it made my skin itch. After a week or two the itch went away. The joint paint and all those attributes of age did too. After all I’m not that old. 

We evolved in the sun. We take it for granted cause we get it here, there, and everywhere. Except in the darkest corners of America. Certain prisons, that is. 

The people who run these prisons don’t know they’ve never gone months without a little sun. They likely don’t care either. I’ve traded the attempted risk reduction for the coronavirus for the regression of sunless senescence. I’ve been hearing people complain that they don’t feel right or well. Perhaps we’ve all been exposed to the coronavirus. We haven’t been tested but we pass regular temperature checks. Maybe we’re mostly too tough for covid. Hardened convicts and all. More probable is guys are beginning to feel the effects of being confined in a small space for months with no sun. 

I’d be surprised if any real studies of the effects of long term deprivation of sun on humans beings have been conducted. Long term meaning years or even decades. Why would they? Who deprives human beings of sun and air for such periods of time, right? Haven’t the courts found such deprivations a violation of the 8th amendment? To not be subjected to cruel and unusual punishment. Sure. But who cares, right? Hopefully you don’t because it’s done in your name and you pay for it. 

One thing is for sure, the virus is inside this petri dish. They had 28 guys pop up sick in one unit one day. They created a quarantine unit and started moving people. They put them in white, paper-looking jumpsuits. I see them being escorted to medical sometimes from my window. I only saw one man who appeared to be struggling to get there. Or maybe he was just walking very slow to enjoy the sun. 

Now, I bet you’re thinking that all I do is whine and paint an occasionally pretty picture. I take it in stride. I survive on optimism and imagination. I’m addressing stark realities here sometimes so I tell it like it is in case you’re interested. In case you’re listening and paying attention. No one paying attention is how we got to this current america. 

I’m gonna tough it out and keep my soul and my smile. I regret that I haven’t been able to send new art. Along with the sun, all art programs are cancelled. I have been toiling with limited resources but we can’t order supplies or mail out art still. 

I survived Hurricane Laura which put on a late night show here. I discovered the name of the coal black birds that live here. They’re called Grackles. Their song goes from car alarms to 80’s video games. They rode out the storm, too.

Everyday I get another step closer to the end of this long march. Closer to being returned to the people who love me and have endured what I’ve endured, to see an end to this era. A new beginning. I am aware that no matter what I go through, there are always people who have it a lot worse somewhere. I know as well people suffer who’ve done nothing to deserve their woe. I try to keep it in perspective. To be mindful.

Christian Trigg
You can view more of Chris’ work in his portfolio and in our galleries.

About the contributor:

“My wildlife art is my story of redemption. My desire is to demonstrate respect, compassion and love can thrive in the darkest of places… Each painting captures the animal in its authentic habitat.

I am self-taught. I have never taken a lesson. I use wildlife photography from magazines and books for my source.

I do my paintings on the floor of my cell. I am not allowed an easel, high quality paper or any medium but chalk pastels. I use my thumb to blend and soften the background. Each painting takes many hours of layering colors to highlight depth and light.”

-Christian Trigg

Artist Spotlight: Reginald Dwayne Betts

by Melissa Wang, JAC Intern

“I started reading poetry in a cell in solitary confinement,” writes Reginald Dwayne Betts to the Justice Arts Coalition. Now an award-winning poet and Ph.D candidate in Law at Yale Law School, Betts began his poetic practice in prison.

Reginald Dwayne Betts.

As a sixteen-year-old, Betts was sentenced to nine years in prison for a carjacking – and it was there, “steeped in despair,” that he began “finding a language, varied and complicated and rich” to carry his imagination to his future. Betts is hesitant to slap a label on art, to glorify it as a unique form of salvation for all. Instead, he points to the individuality of art, the way poetry took him as a teenager outside of the four walls of his cell and allowed him to build possibility. “I don’t want to lift up poetry,” he says, “but rather I want to remember poetry.” Truthfully, as much as art can be a community process, it is also deeply personal.

“Art ends up being about what the writing or reading or witnessing does to you internally.”

Cover of Felon.

Art is consummation between each individual viewer and creator, and Betts highlights the role of the witness – or the reader – in realizing the significance of a work of art. In his 2019 anthology, Felon, he marries his professions as lawyer and as poet to create redaction poems from legal documents. Rather than the poem itself doing the work of blurring boundaries, however, he writes that “readers deserve far more credit than they get. They make the work matter, and they deepen the work by their engagement.” If the reader is willing to explore Betts’s legal background and the meaning of the redaction poems, they add to the value of the work. Comparatively, the isolation of prison creates a dearth of feedback and readership for incarcerated artists – just one reason why incarcerated artists must have their work shared and responded to.

These days, Betts enjoys Basquiat’s show at the Museum of Fine Arts in Boston, as well as the work of Titus Kaphar, with who he is collaborating for theMillion Book Project. The project is producing a curated 500-book capsule collection that will be placed in 1000 prisons in 50 states, sponsored by Yale Law School and a grant from the Mellon Foundation. All his inspiration for the project, says Betts, “comes from being a sixteen-year-old in prison,” along with countless moments over time with various books and writers. For him, words become “a kind of codex and map for life,” and these 500 books are meant to represent the idiosyncrasies of human life and all the diversity that entails. Consequently, the curation of these books is an ongoing and evolving process.

Kaphar, one of Betts’s friends, will be constructing a bookshelf for the project. Kaphar’s art, says Betts, reminds him to be capacious in artmaking and communicating the world. The ways in which they influence each other, however, aren’t just derivative of their artistry, but rather the same way friends influence one another. The conversations between their work evoke their connection as individuals, as ordinary people who hang out and chat and spend time together. Although the arguments of their artwork take different forms, Betts praises Kaphar’s body of work as “brilliantly inventive” and “visually hypnotic.” Thinking back to the Basquiat exhibition, Betts says that while Basquiat introduces him to a world he “didn’t know existed,” Kaphar makes him “reconsider a world” he knows well. These are just a couple of ways engaging with art, whether through creation or witness, serves to alter one’s world.

Art is worldbuilding in a place that fights to limits your world to four walls – the stretch of creative expression can not only help name current realities but also take you to a place away from harm.

“I want to believe that art gives a person understanding, and imagination gives us a vehicle to witness something other than ourselves.”


To learn more about the Million Book Project, check out Yale Law School’s page or the Mellon Foundation’s page.
You can view or buy Betts’s work on his website

Teaching Artist Spotlight: Gabriel Ross

JAC recently spoke with Gabriel Ross, our newest addition to the Teaching Artist Spotlight series. Gabriel (MA Catechetics and Liturgy, University of St. Thomas) is the founding director of Creative Spirit, a non-profit organization dedicated to exploring spirituality through the arts. Gabriel has facilitated adult education courses and intergenerational programming for over 25 years. She leads women’s spirituality groups and teaches courses on comparative religions, eco-spirituality, creativity and spirituality. Gabriel designed and leads the Soul Journal programs for incarcerated women and Befriending Creation camp for girls. Her unique program offerings include drum and ritual groups and Mystics at the River.

The goal of the Soul Journal program is for the women to leave prison stronger than when they arrived. Prison Mother’s Soul Journal invites the participants to a deeper level of self-understanding, leading to more positive ways to communicate with and parent their children. Creating the journal gives incarcerated women a unique and creative way to see their lives as a process of change and transformation, which is vital to the rehabilitation process. The process itself has transformative power that is extended when journals and new knowledge are shared, helping to heal wounded relationships with children, other family members, and the broader community. The mothers in this program learn positive parenting techniques and new ways to share their values and hopes with their children. Prison leaders see the positive results of creating new circles of support within the prison.

Gabriel is generously sharing the Soul Journal Curriculum for Mothers in Prison with the JAC network as a resource to use once it is safe to go back into prisons. It can be accessed here and under Practitioner Handbooks/Curricula in the JAC Resources tab. 

JAC: How did you become involved in this work? What was your path to where you are today?

GR: I founded a small non-profit called Creative Spirit that is dedicated to the imaginative expression of spirituality through the arts. Part of my work was teaching Soul Journal Classes to women in the general public and one of our board members thought it might be a good fit for women in prison.  Our board member had a friend who worked at the local women’s prison and she set up the connection to begin the Soul Journal programming.

JAC: In considering the work of your own organization, what is unique about the programming you have been creating?

GR: Our Women in Prison Soul Journal Programs use the power of narrative art to explore new paths to heal, become stronger, and find hope for the future. The work is unique because the curriculum has been written specifically for incarcerated women with input from the women.

Since the first Soul Journal class at the prison in January of 2012 we have developed four different courses based on the needs of the women and prison staff requests:

  1. Mother’s program
  2. Program for women with long-term sentences
  3. CIP (boot camp) program
  4. Native American program

JAC: How have your students impacted your teaching practices and even your own art?

GR: Teaching in prison has absolutely impacted my teaching practices.  Most of my students have never been given the opportunity to sit quietly and reflect on their lives and their values.  Having the opportunity to explore these ideas and express them with art, poetry and writing is new for the women and can be challenging.  I need to provide engaging exercises, thought provoking material and a variety of strong images to enable their self-expression.  It is also about being able to facilitate discussion about their work, finding safe ways for them to share their journals.  And of course teaching in prison means finding alternative ways to be creative with the limited art supplies that can be brought into the building.

JAC: What has been the most rewarding part of your experience working with incarcerated artists?

Seeing what visual journaling can open for them, and the positive effects the program can have for the women.  For the Mother’s program, seeing the women find a new creative way to connect with their child/ren.  For the Native American program, seeing the women discover Native teaching and values and being proud of their tribal heritage.  For the CIP (boot camp program) seeing the women experience confidence and self-worth as they approach graduation. I always leave the prison feeling like I made a difference in their lives and they express their gratitude.  Here are some comments from participants:

From the Native American program:

“Soul Journal helped me reflect on what being a Native American woman means and what it means to me and it also inspired me to want to get more involved in ceremony and be more traditional when it comes to raising my children.”

“This class reminded me not to be ashamed/embarrassed of who I am. It helped me remember how much I love who I am and how beautiful my/our culture is. I cannot wait to start going to ceremonies again and help educate the youth about who they are.”

From the Mother’s program:

“I have learned all the ways to express my love and expectations and dreams to my children.  I loved that this group made me know and feel better to express my dreams and also share and be open to the wrongs I’ve done so my children don’t do or follow my negative ways.  This class helped me to have strength to change and become a positive mother.”

“This was awesome.  I was skeptical – once in the class I was surprised at how much I was able to open up about as well as see even on the inside.  I’m still able to be a positive influence with my children and hear what a good parent I actually have been and will continue to be.  Thank you for this opportunity to do this – it was tremendous.”

From the CIP (boot camp) program:

“Soul Journal has given me a sense of power I didn’t even know that I had. It is the greatest gift I have been given. I’ve been able to find a lot of inner peace and reflect on how I feel.”

“Soul Journal helped me reflect on my life in a less negative way.  I was able to begin the process of letting go of resentments.”

“Soul Journal got me looking at what I want in a relationship and about some things I need to deal with from my past to heal.  I would only suggest that as many squads as possible get this opportunity – it IS an amazing journey.”

JAC: As you know, JAC is focused on ways in which art can connect those in the prison system with those on the outside. How has this relationship been jeopardized by COVID-19? How have you been keeping connections active during this time? 

GR: I have not been allowed into the prison here since the middle of March 2020.

There are no opportunities for on-line or correspondence courses.  About a month ago a group of formerly incarcerated Native American women (I had in classes at the prison) contacted me and asked me to do a reentry Soul Journal program with them.  We have started to meet and hope to continue to gather.  Not being able to go into the prison has been disheartening for me and the prison program director said that the women really miss the Soul Journal programs.  There is no certainty about when the women’s prison will open to program personnel.

JAC: The Justice Arts Coalition, as it grows, will continue to seek out and implement a vision of how to better support teaching artists. In your view, what does a supportive network need to include? 

A supportive network includes a place to present, discuss and get ideas for this very important work with incarcerated people.  The network might also include the opportunity to connect with other local artists looking toward the possibility of collaboration.

Book Launch – Words After Dark: A Lyrics, Lit & Liquor Anthology

We are excited to share the book launch of Words After Dark: A Lyrics, Lit & Liquor Anthology, edited by Amy Dupcak and JAC community member Amanda Miller. The anthology, now out on Lucid River Press, features poetry, essays, stories, comedy and song lyrics, originally performed during the now eight-year-run of Miller’s literary/performance series Lyrics, Lit & Liquor. We invite you to join tonight’s live-streamed rooftop reading in celebration of the book’s official release (Saturday 9/19 at 5pm ET via Facebook live). 

We are also delighted to announce that Miller and Dupcak are generously donating 20% of the book’s proceeds to the Justice Arts Coalition! The anthology is available in paperback for $12 on Amazon


We had the pleasure of speaking with Amanda Miller to learn more about her work and the creation of Lyrics, Lit, & Liquor and Words After Dark. 

JAC: Please describe a bit about your background as it relates to the work you are doing today. How did you become involved in this work? 

AM: I am a writer, performer, event producer, yoga instructor, massage therapist, Jewish educator, and activist. To me, these roles are all interconnected and overlapping, falling under the umbrella of arts and healing. Theater and writing came first and organically sprouted into the rest.

I became involved in JAC through my work with PEN America’s Prison Writing Program where I have served as a Prison Writing Awards Committee member, event co-curator, book reviewer and performer. I co-curated and performed in the program’s virtual event A Stronger Desire To Live as part of PEN’s World Voices Festival in June 2020 featuring visual art from JAC’s roster of artists, which is how I first connected with JAC. I got involved with the Prison Writing Program when the director was reaching out to NYC Reading Series to feature work by incarcerated writers as part of PEN’s first ever BREAK OUT series, a movement to (re)integrate incarcerated writers into the literary community.

JAC: What inspired you to start Lyrics, Lit & Liquor and how has it evolved over the years, culminating in the release of this anthology?

AM: Inspiration for the series came when my writing group member, Scott Hess, launched his novel back in 2012 with a variety show. At the time of Scott’s launch I’d been hosting a comedy variety show, but I’d never attended one in which literature was featured let alone the centerpiece of the evening. I found that breaking up the readings with other forms of art helped audiences listen more deeply.

For a while I’d been straddling the performance and literary worlds, but Scott helped me see a way to bridge the two. A chapter from my memoir One Breath, Then Another was due out in an anthology that August. I decided to celebrate with an event in the dive bar where I hosted the comedy show with a reading of my chapter sandwiched between various acts. It was a memorable night, moving from the hilarious to the heartbreaking with lush tunes interspersed throughout. Afterward, the venue invited me to host an ongoing show in this format and, with that, Lyrics, Lit & Liquor was born.

While other performances would be sprinkled in, readings and music would form the show’s backbone. The most important thing was to have a fun, welcoming, unpretentious, DIY feel open to a wide array of writers, musicians, and performers, with no fancy credits or a book deal required. A discussion about the series with dear friend, fellow writing group member and Jeopardy! fan Amy Dupcak led to the idea to include original themed trivia at every show, a question between each performance.

While we have changed venues four times in our nearly eight-year lifespan, we’ve remained in the East Village. And while the overall vibe of that neighborhood has dramatically changed over the past decade, it’s still hallowed ground for DIY alternative art and culture. We’ve always aimed to contribute to the spirit of a neighborhood that keeps that torch lit.

Words After Dark is a natural outgrowth of our series and the brainchild of myself and Amy. We wanted to feature some of the talented readers and musicians who have graced our stage over the years, and to share their work with an even wider audience. Editing this anthology has been a labor of love nourished by a deep commitment to maintaining a space for open artistic expression and community.

JAC: What is unique about Lyrics, Lit & Liquor and how have you maintained/translated this into the anthology? What makes Words After Dark different from other collections of poems, stories, lyrics, etc?

AM: Lyrics, Lit & Liquor’s eclectic nature makes the series unique: at any given event you may experience an old lady character stripping down to her leopard print drawers, satirical political country songs, an operatic magician, a topless woman with a political message scrawled across her chest rocking out on her electric guitar, confessional poetry, quirky fiction, gripping memoir, and audience members shouting bizarre noises to answer a trivia question for a candy bar.

Organized into sections that pair beverages with writing and trivia (answers in the back—no peeking!), Words After Dark recreates the Lyrics, Lit & Liquor experience on the page. Sip a Dirty Martini while snickering at the lyrics to “A Sweet Fucking Word” by award-winning comedian and musician, Jessica Delfino. Indulge in a Bloody Mary while absorbing the gut-punching novel excerpt from critically-acclaimed author Scott Alexander HessThe Root of Everything. Toss back a tequila shot while taking in the heart-stomping prose poem “My Past and Future in Present Tense” by PEN America Prison Writing award winner Sean Dunne. Drinks are hand drawn by New York graffiti artist Matthew Litwack. All these elements make Words After Dark different from other collections.

JAC: What inspired Words After Dark

AM: As we were rounding the corner to the eight year mark, Amy and I came up with the idea for the anthology together. We wanted to celebrate our tenacity in keeping the series going this long and the awesome community we’ve built along the way. We originally intended to publish this anthology in May 2020 in tandem with a celebratory bash at the bar where we’ve been stationed for the last couple of years. Alas, Covid-19 shuttered venues, eliminated in-person gatherings and relegated us to the walls of our apartments for the indefinite future. And so we postponed our publication date, waiting until we could hold a proper release party in our proper venue. But as the pandemic has persisted with no clear indication as to when “normal life” will resume, we decided to publish now.         

The title Words After Dark comes from the fact that the words in the book were literally performed when it was dark outside. But it turns out that the title works on a more metaphorical level that speaks to our current times. Venues may be dark, but artists are still here, and the world needs art and connection more than ever.

JAC: Why are you choosing to generously donate 20% of the book’s proceeds to JAC? 

AM: In the time I’ve been a part of the JAC community, I’ve been so inspired by the work this passionate, open-hearted network of human beings is doing. This is a group of people harnessing the power of art for its highest purposes: healing, liberation, education, community, and justice. I’m donating a portion of the proceeds to JAC to support this work and also increase awareness of JAC as an entity.

JAC: What are you hoping your readers will get from Words After Dark?

AM: I hope readers will enjoy a fun, moving, enlightening journey through the drawings, trivia, comedy, short stories, song lyrics, essays, poetry, and novel excerpts on these pages. I hope they will be inspired by the unbound, uncensored creative expression.

I hope that in this time of physical distancing, the collection will provide a feeling of connection and remind readers of the power of words to lift us up.


Words After Dark is a great gift for aspiring literary writers, songwriters and comedians hankering for unbound, uncensored creative inspiration. It’s essential for anyone with an interest in NYC’s independent arts scene and for all who believe in the power of words to lift us up.

Featuring Sheila-Joon Azim, Mac Barrett, Brian Birnbaum, Adam Blotner, Emily Brout, Britt Canty, Jessica Delfino, Sean Dunne, Amy Dupcak, Rachel Evans, Juliet Fletcher, Jordana Frankel, Christie Grotheim, Jared Harel, Scott Hess, Helen Howard, Nancy Hightower, Meher Manda, Valdaniel Martins, Amanda Miller, Noam Osband, Zachary Parkman, Kyle Pritz, Joel Remland, Waylan Roche, Megan Sass, Christopher X. Shade, Shawn Shafner, Melissa Shaw, Simi Toledano, and Jenny Williamson. 

Miller and Dupcak invite you to raise your glass, silence your phone and enjoy!