extreme insider of the book is Myles's maternal grandmother Nellie Riordan Myles, who spent the last 17 years of her life in a state mental hospital in Massachusetts. Also included in Cool for Yous inventory is an imaginary one—a chapter that describes the solar system from the perspective of a ten-year-old version of Myles themself, Myles's first foray into fantasy writing. Cool for You received widespread recognition and was reviewed in The New York Times and The Nation. Inferno (a poet's novel) (2010) fictionalizes the life of a poet very similar to Myles, and Myles stated in an interview with John Oakes that the vernacular language of Dante's "The Inferno" is their "biggest argument for the way I write." It was awarded a 2011 Lambda Literary Award for Lesbian Fiction. On September 29, 2015, HarperCollins reissued Myles's out-of-print novel, Chelsea Girls. Performance In 1979 Myles founded the Lost Texans Collective with Elinor Nauen and Barbara McKay. That year the group produced Joan of Arc a spiritual entertainment and would produce Patriarchy, a play in 1980. Later solo performances include "Leaving New York (1989), Life (1991), and Summer in Russia (1996), which were performed at P.S. 122, Judson Church. Myles's later plays, Feeling Blue parts 1, 2, and 3, Modern Art, and Our Sor Juana Ines de la Cruz, written for Alina Troyano, were all produced at WOW Cafe and P.S. 122. Since the early eighties Myles has toured and read their own work extensively. In late 1988 they traveled with poet and memoirist Jim Carroll on a tour sponsored by Lila Acheson Wallace. In the nineties Myles toured Germany with Kathy Acker, Lynne Tillman, Richard Hell, and Chris Kraus. Since 1997 Myles has frequently toured with LGBT performance group Sister Spit. Myles appears on three episodes in the second season of the TV series Transparent in 2015. Critical reception Myles's first book, The Irony of the Leash (1978), was produced on the mimeograph machine at St. Mark's Poetry Project. Pulitzer prize-winning poet John Ashbery has described Myles's work as making one "uncomfortable and awake ... chanting softly and beautifully the harsh if humorous realities that combine to make whatever life a poet can piece together today." They have been called "a cult figure to a generation of post-punk female writer-performers" by Holland Cotter of The New York Times. In a recent review of Snowflakes/different streets in the LA Review of