Books, Brian Teare complicates these readings of Myles's persona in relation to their body of writing: Inferno has been described by Craig Epplin as representing, In a review of Chelsea Girls in The Los Angeles Times, Erika Taylor wrote:Myles' collection of short stories is so unabashedly solipsistic, so confident in its own self-absorption, that she takes chances and has payoffs few other writers would be willing to risk. . . It would be easy to dismiss "Chelsea Girls" as poetic hot air if Myles weren't so smart and funny. Somehow, she manages to hold our attention in spite of the closed-in quality of her work. This is writing with big courage, big talent and a big self-image. It would be really interesting to see what Myles might do facing the world instead of the mirror. Charles Shipman, in a review of Cool for You in The St. Louis Post-Dispatch, wrote:Although the writing is sometimes too fragmented to follow and occasionally becomes a tad melodramatic (oh, those awful nuns!), Myles has an undeniable gift for capturing the small details and mundane events that shape our lives. She's also capable of writing with tremendous sensitivity, and because she never slips into sentimentality, her tender passages are all the more affecting. . . By the end of "Cool for You" you do feel as though you know Eileen Myles, and you're glad you took the time to listen to her story. In The Boston Globe, Matthew Gilbert called Afterglow: A Dog Memoir, a book about Myles' pet pit bull Rosie,a challenging read that spirals up into big and little thoughts all inspired by her beloved companion, bringing in seemingly unrelated topics along the way such as the "self -war" of Kurt Cobain, libraries, gender identity, Abu Ghraib, George W. Bush's farts, and, at some length, sea foam. . .Myles writes that she doesn't want to stop talking to Rosie, that she has written the book, she says, "to keep talking to her." Luckily for us, we can eavesdrop on that long, wry, far-flung, and wonderfully loving conversation. Fellowships, grants, awards New York State Creative Artist's Public Services Grant, (poetry) 1980 The National Endowment for the Arts (NEA) Performance/Inter-Arts Grant, (Modern Art) 1989 Fellow, Djerassi Foundation, 1994 Rex Foundation Grant, (The Grateful Dead) 1994 New York State Council on the Arts Theater Commission, with performer Carmelita Tropicana for Our Sor Juana, 1994 Ludwig Voegelstein