Emily Wilson's translation of the Odyssey, released in 2017, has reshaped how we engage with Homer’s timeless epic. In a piece for The Paris Review, Wilson reflects on her childhood experiences performing the play, highlighting the complex character of Odysseus. She fondly recalls the duality of Odysseus's identity as he shifts between being someone significant to someone unnoticed. "I loved that Odysseus could transition so easily from being somebody to being nobody, and back again," she notes, revealing her early fascination with the narrative.
Tell me about a complicated man.
Muse, tell me how he wandered and was lost …
This year, as Wilson's translation gains further prominence, it's noted that Christopher Nolan has drawn on her work for his latest adaptation of the Odyssey. This connection between ancient literature and modern cinema is particularly striking, as both Wilson's insight and Nolan's vision align in their appreciation for the story’s depth. Nolan's film, which hit theaters recently, encourages audiences to rediscover the complexities of Odysseus, a character as multifaceted as he is enigmatic.
In the same vein, Daniel Mendelsohn's reflections on the Odyssey during a Mediterranean cruise retracing Odysseus's journey offers a unique lens on the tale's themes. He describes his father’s relentless curiosity as they toured significant locations from the epic. “Odysseus wanted to know the minds of men,” Mendelsohn mused, categorizing the legendary hero as perhaps the first anthropologist in Western literature. His playful account highlights how personal experiences resonate with Homer’s themes—a connection that allows for fresh interpretations of the text.
It is he whom Zeus now orders you to send on his way with all speed,
For it is not his fate to perish here, far from his loved ones.
Both Wilson and Mendelsohn contribute to an enriching discourse surrounding Homer’s narrative. Their translations reflect individual styles and interpretations, shedding light on the evolving understanding of an ancient story. As we anticipate further adaptations of the Odyssey, such as Nolan's film, it’s evident that the epic's relevance endures, drawing new audiences and reigniting discussions of its themes and characters.
The Paris Review has also unlocked access to various excerpts from both Wilson’s and Mendelsohn's translations, allowing readers to delve into their interpretations. This accessibility aligns with the ethos of connecting modern audiences with classical literature, paving the way for an enriched appreciation of the epic.
From Homer’s ‘Odyssey,’ Book I
Homer, translated by Emily Wilson
“Daughter!” the Cloud God said, “You must be joking,
since how could I forget Odysseus?
He is more sensible than other humans,
and makes more sacrifices to the gods.
But Lord Poseidon rages, unrelenting,
because Odysseus destroyed the eye
of godlike Polyphemus, his own son,
the strongest of the Cyclopes—whose mother,
Thoösa, is a sea nymph, child of Phorcys,
the sea king; and she lay beside Poseidon
inside a hollow cave. So now Poseidon
prevents Odysseus from reaching home,
but does not kill him. Come then, we must plan:
How can he get back home? Poseidon must
give up his anger, since he cannot fight
alone against the will of all the gods.”
From issue no. 221 (Summer 2017)
from The Odyssey, Book Five
Homer, translated by Daniel Mendelsohn
When he reached the island at last—it lies off at a great distance—
He emerged from the violet-dark sea and then made his way onto
Dry land, until he reached an enormous cave where the nymph
Of the beautiful braids had her dwelling. There, inside, he found her.
An enormous fire was burning upon the hearth.
From issue no. 248 (Summer 2024)
Emily Wilson is a professor of classics at the University of Pennsylvania.