You can read Rachel Abramowitz review, “To defy the gods: Form, Resilience, & Capaciousness in Shira Dentz’s SISYPHUSINA” in Tupelo Quarterly here

(an excerpt)
“In the ancient Greek myth of Sisyphus, Sisyphus, king of Corinth and “the most cunning of men” (Illiad, 6:153), cheats death twice, once by actually holding Death hostage (thus giving humans a short break from Death’s perpetual trade), and the second time by talking his way out of the Underworld. With characteristic relish, Zeus sentences Sisyphus to an eternity of pushing a boulder up a hill, only to watch it tumble down again. Philosophers and psychoanalysts have—somewhat ironically, considering their output—used the image of Sisyphus to illustrate the meaninglessness of the human condition. In Sisyphusina, her new collection of poetry, Shira Dentz imagines a modern, feminized version of Sisyphus, who is imprisoned within a society that requires women to push the boulder of beauty, fertility, and sexual desirability up an emotional hill over and over again, achieving nothing, meaning nothing. While of course mortal women age and eventually die, Sisyphusina presents a generational immortality which is no more bearable. And yet, it is Dentz’s fascinating experiments with form, image, subject, and typography that place her most in conversation with Albert Camus’ 1942 version of the myth, in which “The struggle itself towards the heights is enough to fill a man’s heart. One must imagine Sisyphus happy.” Camus’ figure outwits Zeus by assigning meaning to his otherwise meaningless task (and, after all, gains the immortality he so desires). Contemporary artists, it seems, exist somewhere between the two views of Sisyphus: embedded in their assignation of meaning is always failure—in the best art, failure is compelling and generative, rather than nihilistic. That’s great for Sisyphus (as it is for Camus), but Dentz’s collection begs the question: What does happiness—if it is at all possible—look like for Sisyphusina?”

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