Eileen Myles, Inferno (A Poet’s Novel) (2010)
It is, of course, hard to say for certain what is true and what is fiction just based on reading a book, but this “novel,” to me, read a lot more like a memoir. (Perhaps that’s what Myles means by “a poet’s novel,” i.e. poets are incapable of writing about anything other than themselves?) It’s also odd that it’s called Inferno, since the book follows the tripartite division of Dante’s entire Divine Comedy: the opening section (the true Inferno) details Myles’ life of poverty when she came to New York City to try to be a poet, the middle section (written in the form of a grant application, a clever touch) suggests the possibility of effort redeemed, as in Purgatory, and then the final section, in which she has achieved the fame she longed for, is her Paradise.
Canada is not mentioned, but we have another reference to one of our country’s most famous musicians, Joni Mitchell — I say “another” because Mitchell is also mentioned in Myles’ Chelsea Girls, along with Neil Young and Canada itself. The Mitchell reference in this book comes as Myles is describing her early experience of going to poetry readings and performing at them as part of trying to break into the poetry scene:
It was clear that I could only venture into this world if I was alone — because if I had any friends at all they would just laugh at these weirdos, but in New York I had committed myself to a life in which I had nothing better to do. If this is what poets did and who they were I would be with them. It was a professional choice. It was high time I got on with my career. I was home alone most days except when I sat in a coffee shop to write so at night I needed an adventure, to step up like in the Joni Mitchell song: “she tapes her regrets to a microphone stand” — that was me, and one day I knew I would be famous. These scenes were part of it — pushing into the unknown, even if it meant sitting in a room full of creeps, in used leftover looking spaces waiting for my turn. (49)
There’s nothing about Canada there, and it isn’t even mentioned that Joni Mitchell is Canadian, but we can see how her lyrics are a touchstone for a young woman starting out as a poet in New York, just as they were a touchstone for the characters in Lorrie Moore’s Who Will Run the Frog Hospital? For Myles, the song lyric seems to express the idea of taking a chance on something risky even if you aren’t certain it will work out, as the girl in “Blonde in the Bleachers” takes a chance with a “rock n roll man” even though she knows she won’t be able to keep him.
Eileen Myles vs Chris Kraus
I read Inferno because I came across a quote from it in an article about Chris Kraus somewhere. The quote was about a European reading tour that Myles and Kraus went on with Kathy Acker and was something along the lines of, “Chris Kraus was totally obsessed with Kathy Acker.” I’ve been interested in Kraus ever since I read her brilliant book torpor (several references to Canada) and I guess I was curious to see what else Myles had to say about her and what the context of that quote was. (Kraus’s name has also been around a lot lately because of the I Love Dick TV series, and she seems to be getting some (much-deserved) notice as an early exemplar of the “autofiction” genre that includes currently trendy writers like Karl Ove Knausgaard (who also mentions Canada) and Sheila Heti (who is actually Canadian), not to mention Myles herself, since Inferno could probably fit under that umbrella.) As I said at the opening of this post, it’s hard to tell what is actually “true” and what is fictionalized in these books since the average reader will have no independent knowledge of the source material i.e. the writer’s actual life. I wonder, though, if torpor is a little more fictionalized than some other examples, and if that authorial shaping of the material, rather than simply recording it, is what makes it so good (though one could argue that the act of writing is itself a process of shaping). Maybe Kraus is just a superior writer.
As for what Myles has to say about Kraus, it turned out there was nothing in the book beyond what was quoted in the article, so the joke was on me.
Here’s the song “Blonde in the Bleachers” quoted by Myles: