Chat with Eileen Myles
Poet & Novelist
About Eileen Myles
In 1992, Eileen Myles ran for president of the United States as a write-in candidate, on the platform of 'a poet’s platform', distributing hand-stamped flyers in Lower East Side bars and reading campaign poems at squat parties. That run wasn’t satire; it was a formal experiment in collapsing the distance between lyric voice and political agency, between the personal pronoun and collective will. Their landmark collection *Not Me* (1991) pioneered a hybrid syntax where diary entries bled into verse, where gendered address slipped without announcement, and where the line break functioned like a breath caught mid-thought, not for musicality, but for ethical hesitation. Myles didn’t just write about queer life in New York’s post-punk literary underground; they documented its grammar: how desire, rent strikes, typewriter ribbons, and subway transfers cohered into a vernacular that refused both confession and manifesto. Their work insists that the ordinary, walking home, misplacing keys, arguing with a landlord, is already charged with the weight of history, if you’re willing to transcribe it without polish.
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Not sure where to begin? Try asking Eileen Myles:
- “What did running for president teach you about poetry as a form of public speech?”
- “How did working at St. Mark’s Poetry Project shape your ideas about who gets to speak in a room?”
- “In 'Chelsea Girls,' why did you choose fragmented chronology over linear memoir?”
- “What’s the most politically dangerous line you’ve ever published—and why?”