Eileen Myles Quotes

I hope you all find yourselves sleeping with someone you love, maybe not all of the time, but a lot of the time. The touch of a foot in the night is sincere. I hope you like your work, I hope there’s mystery and poetry in your life — not even poems, but patterns. I hope you can see them. Often these patterns will wake you up, and you will know that you are alive, again and again.

Time passes. That's for sure.

Listen, I have been educated. I have learned about Western Civilization. Do you know What the message of Western Civilization is? I am alone.

Literature is love. I think it went like this: drawings in the cave, sounds in the cave, songs in the cave, songs about us. Later, stories about us. Part of what we always did was have sex and fight about it and break each other’s hearts. I guess there’s other kinds of love too. Great friendships. Working together. But poetry and novels are lists of our devotions. We love the feel of making the marks as the feelings are rising and falling. Living in literature and love is the best thing there is. You’re always home.

Part of the glamour of being a poet was always this long reach into the future. You knew you were managing time.

Poetry is my politics. It's an opportunity that gives me a way to speak.

I am always hungry and wanting to have sex. This is a fact.

I hate the word mentor, the professionalization of friendships between generations. I just feel like the fact of friendship is the thing we all adored, like the younger befriends or reaches out to their hero, and for me, whenever you meet some younger person, who has a fire in their gut, a way of being in the world, it excites you.

The poet is like the wise fool or like a version of the stand-up, because we're standing, we're doing stand-up. That's exactly what we're doing.

Urban nature is like living with mass conditions. It sometimes feels like a myth & you are its scribe.

The poet’s life is just so much crenellated waste, nights and days whipping swiftly or laboriously past the cinematic window. We’re hunched and weaving over the keys of our green our grey or pink blue manual typewriter maybe a darker stone cold thoritative selectric with its orgasmic expectant hum and us popping pills and laughing over what you or I just wrote, wondering if that line means insult or sex. Or both. Usually both.

I always think of childhood as the inarticulate moment, and you have your little camera. You were filming it, recording it, you just didn't know how to speak it.

As a reader I feel included a lot in Julie Carr’s hard and beautiful book. I can pretty much hear its author speak—a whispering that enables us into its world . . . a masterfully sutured journey, painfully useful. Sarah—Of Fragments and Lines is a book I know I will return to. And urge it on my friends who have lives too and write in them.

I'm a poet born in the era of Andy Warhol and a generation that wanted to be famous.

I wonder, would I have transitioned from female to male if I was 30 years younger? Possibly. But if I had been born even 30 years later, because it seems like the technology will only get better, it seems like one might not ever need to settle down at all.

Women aren't physically afraid of men; women are genetically afraid of men. It's happened for such a long time.

Art feels like it has this frame, and it's either outside or inside.

I was a working-class kid from Boston. But I never lost my accent because I felt like that was what I was doing. I didn't have to perform Woody Guthrie like Bob Dylan did in the '60s, I just had to make myself be Eileen Myles and let that be my shield.

People love discovering you. The thing about not being historically a mainstream writer is that everyone feels like you're theirs, you're their friend.

I really just love reading. It's my favorite thing, performing my poems live.

I think poets are supposed to be writing for television and film. I grew up in the day of early TV that was so raw and funny, and I think we're in the next important moment of television, where it's really telling the epic of the culture like Charles Dickens was doing in the 19th century with his serialized novels.

When people decide to talk publicly about poetry as an art form and how it's received, they often get very abject about it: "Nobody reads poetry," and then a thousand people write back, "No, we read poetry." There's an abundance of this negative preaching to the choir, and it's very similar to the experience I'm having.

People loved to talk about how Frank O'Hara didn't really care about getting published. That doesn't jibe with my experience.