“Myles’s distinctly lower-class guilt around doing intellectual work instead of being useful makes her so trustworthy. Of course, she’s also a woman, and a lesbian; those two factors alone keep her from resembling the popular, Springsteenian image of the blue-collar everyman. Her thoughts on money, art, and class mobility are sharp precisely because she never descends into sappy white-guy populism. Sometimes it even seems like she’s about to, but then at the last moment she veers in another direction:

‘I sat in the little sub shop in an alley behind UMass (Boston) eating my sandwich, looking over at the workers who ate there too and appreciating I was part of what they saw,’ she tells us. Is Myles a glorious sister comrade in their struggle? A Gramscian organic intellectual giving voice to the working man’s reality? But wait: what did Myles think those workers saw, when they saw her? ‘Asshole college kids wasting time while they worked and I just totally loved that view.’”

- Sady Doyle, Standing in the Goods: Inferno and the myth of the working-class artist, Emily Books