Eileen Myles
Autor/a de Chelsea Girls
Sobre l'autor
Eileen Myles is an American poet and writer born on December 9, 1949 in Cambridge, Massachusetts. She is a graduate of the University of Massachusetts Boston (1971). She moved to New York City in 1974 where she participated in workshops and worked with and for several famous poets. Her career mostra'n més includes working as Artistic Director of St. Mark's Poetry Project, serving as Professor of Writing at the University of California, San Diego, and Visiting Writer at seven colleges. Myles's first book, The Irony of the Leash, was published in 1978. Some of her other work include A Fresh Young Voice From the Plains, Not Me, Inferno, Maxfield Parrish/early and new poems, School of Fish, Skies, On My Way, Snowflake / Different Streets, and The Importance of Being Iceland. She has also written articles, essays, plays and other works of fiction and nonfiction. She founded the Lost Texans Collective with Elinor Nauen and Barbara McKay and performed in group and solo performances. She has received numerous awards for her work. Her latest awards include The Clark Prize for Excellence in Arts Writing (2015) and The Lambda Pioneer Award (2016). (Bowker Author Biography) mostra'n menys
Nota de desambiguació:
(eng) Note that Myles uses "they/them" (identifying as plural femme). http://eileenmyles.com/bio2.php
Crèdit de la imatge: Credit: David Shankbone, Sept. 14, 2008, Brooklyn Book Festival
Obres de Eileen Myles
We, the Poets 1 exemplars
Eileen Myles 1 exemplars
Obres associades
A Woman Like That: Lesbian and Bisexual Writers Tell Their Coming Out Stories (1999) — Col·laborador — 238 exemplars
Light the Dark: Writers on Creativity, Inspiration, and the Artistic Process (2017) — Col·laborador — 132 exemplars
Women on Women 2: An Anthology of American Lesbian Short Fiction (1993) — Col·laborador — 120 exemplars
Pills, Thrills, Chills, and Heartache: Adventures in the First Person (2004) — Col·laborador — 66 exemplars
It's So You: 35 Women Write About Personal Expression Through Fashion and Style (2007) — Col·laborador — 52 exemplars
Take My Advice: Letters to the Next Generation from People Who Know a Thing or Two (2002) — Col·laborador — 45 exemplars
The Golden Shovel Anthology: New Poems Honoring Gwendolyn Brooks (2017) — Col·laborador — 16 exemplars
Eleven More American Women Poets in the 21st Century: Poetics Across North America (2012) — Col·laborador — 10 exemplars
Coming Attractions: An Anthology of American Poets in Their Twenties (1980) — Col·laborador — 8 exemplars
Saturday Morning, Vol. II no. 1 & 2 (New York City Issue) — Col·laborador — 3 exemplars
CUZ #1 — Autor — 2 exemplars
Talisman: A Journal of Contemporary Poetry and Poetics, Number 1, The Alice Notley Issue — Col·laborador — 1 exemplars
Etiquetat
Coneixement comú
- Nom normalitzat
- Myles, Eileen
- Data de naixement
- 1949
- Gènere
- female
- Nacionalitat
- USA
- Lloc de naixement
- Cambridge, Massachusetts, USA
- Llocs de residència
- Boston, Massachusetts, USA
San Diego, Californië, USA
New York, New York, USA - Educació
- University of Massachusetts, Boston
- Nota de desambiguació
- Note that Myles uses "they/them" (identifying as plural femme). http://eileenmyles.com/bio2.php
Membres
Ressenyes
Chelsea Girls de Eileen Myles
dropped at p. 150. i never drop books but i hated the writing style so much, i just couldnt take it anymore.
1 
femmedyke | Hi ha 10 ressenyes més | Sep 27, 2023 |
femmedyke | Hi ha 10 ressenyes més | Sep 27, 2023 | 
On The Death of Robert Lowell
What ever happened to all those middle-of-the-class kids from high school. You only spoke to them once or twice. Born to be losers, you thought, if that element of young-adult fiction was to be believed. Or obliterated. You forgot their names. Now and again when you look them up on LinkedIn you are always surprised to find them alive . . . and employed. And when you chance to encounter them again, in the strange context you imagine, in which they find themselves born instead in the 1940's, it's possible that they would continue to inhabit, even now, that time nearly fifty years ago which was their heyday, and to continue to talk, repetitiously, about the famous people they had known and the women they had fucked, such that you would perceive, for a dull moment, that they had not yet managed to write themselves out from under the weight of their previous novel.… (més)
Oh, I don't give a shit.
He was an old white haired man
Insensate beyond belief and
Filled with much anxiety about his imagined
Pain. Not that I'd know
I hate fucking wasps.
The guy was a loon.
Signed up for Spring Semester at MacLean's
A really lush retreat among the pines and
Hippy attendants. Ray Charles also
Once rested there.
So did James Taylor . . .
the famous, as we know, are nuts.
Take Robert Lowell.
The old white haired coot
Fucking Dead. —Eileen Myles
What ever happened to all those middle-of-the-class kids from high school. You only spoke to them once or twice. Born to be losers, you thought, if that element of young-adult fiction was to be believed. Or obliterated. You forgot their names. Now and again when you look them up on LinkedIn you are always surprised to find them alive . . . and employed. And when you chance to encounter them again, in the strange context you imagine, in which they find themselves born instead in the 1940's, it's possible that they would continue to inhabit, even now, that time nearly fifty years ago which was their heyday, and to continue to talk, repetitiously, about the famous people they had known and the women they had fucked, such that you would perceive, for a dull moment, that they had not yet managed to write themselves out from under the weight of their previous novel.… (més)
a "Working Life" by Eileen Myles is a collection of poems that can startle you just as easily as they can soothe you.
Collections of poetry are like collections of anything else, some pieces will connect more emphatically while others may not speak to you at all. In the case of poetry, a bit more of the emphasis is on the reader than with short stories or essays, to cite a couple examples. Reading and analyzing/understanding a poem is a creative process. Not as creative as writing it, and certainly of a different type, but creative nonetheless. And in order to understand one is, by definition, analyzing. Not in an academic manner, unless you're an academic, but in a personal manner. What is being said? How is it being said? Does a line break here make the meaning different than if it were in a more "prose" place? If I read it ignoring, or at least deemphasizing, line and stanza breaks, does it mean something different than if I read it with them? Then bring in all the personal life experiences we all have and each poem can take on a multitude of meanings.
Myles' poetry has always been something I like to take my time with. Their line breaks and (usually) short lines give me a lot of space to both try to understand what they were saying as well as what I might takeaway from it. There are quite a few poems here that spoke to me, though admittedly often not on my first reading. But who just reads a poem through and expects to get anything from it? Okay, some very basic but very good poems can be read that way, but they are largely narrative and the meaning is derived from thinking about why what happened, happened. But most poetry asks the reader to be an active reader, something we all have trouble with at times.
I would recommend this to those who already like Myles' poetry as well as those who enjoy reading a single poem at a time, thinking about it, playing with how you reread it, then think about it some more. Make it your own, try to figure out what they meant, or both.
Reviewed from a copy made available by the publisher via NetGalley.… (més)
Collections of poetry are like collections of anything else, some pieces will connect more emphatically while others may not speak to you at all. In the case of poetry, a bit more of the emphasis is on the reader than with short stories or essays, to cite a couple examples. Reading and analyzing/understanding a poem is a creative process. Not as creative as writing it, and certainly of a different type, but creative nonetheless. And in order to understand one is, by definition, analyzing. Not in an academic manner, unless you're an academic, but in a personal manner. What is being said? How is it being said? Does a line break here make the meaning different than if it were in a more "prose" place? If I read it ignoring, or at least deemphasizing, line and stanza breaks, does it mean something different than if I read it with them? Then bring in all the personal life experiences we all have and each poem can take on a multitude of meanings.
Myles' poetry has always been something I like to take my time with. Their line breaks and (usually) short lines give me a lot of space to both try to understand what they were saying as well as what I might takeaway from it. There are quite a few poems here that spoke to me, though admittedly often not on my first reading. But who just reads a poem through and expects to get anything from it? Okay, some very basic but very good poems can be read that way, but they are largely narrative and the meaning is derived from thinking about why what happened, happened. But most poetry asks the reader to be an active reader, something we all have trouble with at times.
I would recommend this to those who already like Myles' poetry as well as those who enjoy reading a single poem at a time, thinking about it, playing with how you reread it, then think about it some more. Make it your own, try to figure out what they meant, or both.
Reviewed from a copy made available by the publisher via NetGalley.… (més)
I'm something
unreliable
and this
is a day for
poetry.
I'm trying to understand why I liked this book so much and I don't have answer. There are just some really wonderful moments that pull you in and honestly Eileen Myers is so much fun to read out loud!
My personal favourites from this collection are April 15, Beloved Train, Love Song and September 7.
unreliable
and this
is a day for
poetry.
I'm trying to understand why I liked this book so much and I don't have answer. There are just some really wonderful moments that pull you in and honestly Eileen Myers is so much fun to read out loud!
My personal favourites from this collection are April 15, Beloved Train, Love Song and September 7.
Llistes
Bull Tongue (3)
Premis
Potser també t'agrada
Autors associats
Estadístiques
- Obres
- 28
- També de
- 33
- Membres
- 1,730
- Popularitat
- #14,858
- Valoració
- 3.8
- Ressenyes
- 32
- ISBN
- 86
- Llengües
- 6
- Preferit
- 9
- Pedres de toc
- 21
