As Ian Bodkin writes in his review of the work, Myles' poems "navigat[e] the ever-insular landscape of our technological culture that invades moments of quiet thought" in Snowflake, then "offers a sense of return to the people and places of intimacy, connections that bring her back to this world" in different streets. Non-fiction Though Myles's primary intention was to be a poet, they have stated that they were also moved by the New Journalism of the sixties and seventies and the art writing tradition by poets of the New York School. In the 1980s, Myles began to publish personal journalism, book reviews, and art reviews. Early columns appeared in the Poetry Project Newsletter; their essay "I Hate Mimeo" called for an end to the same publishing format in which their essay appeared. In the 1990s they wrote a monthly column in Paper. Myles' early book and theater reviews appeared in New York Native, Outweek, and Out, and they were a notable figure on the poetry and queer art scene of the 1980s and 1990s on the Lower East Side. Later, Myles would publish essays and other article in the Village Voice, The Nation, Artforum, Parkett, and Art in America. In 2006 Myles received an Warhol/Creative Capital grant, which funded their first collection of nonfiction, The Importance of Being Iceland: Travel Essays in Art (2009). The title essay from this collection, "Iceland," has been described as part travel essay, part personal essay, and part inquiry into the nature of how landscape and writing affect each other. Fiction Myles's first collection of stories, Chelsea Girls (1994), features "Bread and Water," the oldest story in the collection, and an account of life in the East Village in the late 1970s and early 1980s. Raymond Foye called it "The quintessential memoir of the Lower East Side." In an interview with Michael Hafford, Myles stated that "Bread and Water" "was literally like a copy of my life at that moment." In "Chelsea Girls," the title story, Myles chronicles their time as the assistant to poet James Schuyler in the Chelsea Hotel; their intergenerational exchange has been the subject of scholarship by Dianne Chisholm and José Esteban Muñoz. Myles's second full-length work, Cool for You: a nonfiction novel (2000), catalogs abject institutional spaces of an "insider", in opposition to the male artist as an "outsider". Among these spaces are school, family, and various bad jobs; the