Who Owns the Odyssey?

Who Owns the Odyssey?

In its nearly three-thousand-year history, the Odyssey has undergone as many twists and turns as its protagonist does on his journey home to Ithaca. Its origins as oral poetry suggest countless revisions before it was even put into text—and many more followed, as translators have wrestled with how best to express Homer’s ancient Greek verse in their own languages. On this episode of Critics at Large, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz consider the latest rendition, a film adaptation by the director Christopher Nolan. The movie’s two-hundred-and-fifty-million-dollar budget, A-list cast, and use of cutting-edge IMAX technology make it maximalist in every sense of the word. It’s elicited glowing reception from early viewers—and faced preëmptive criticism from the right. Drawing on the scholar Emily Wilson’s 2017 translation of the epic, Nolan has modernized the dialogue; his focus on the erosion of societal values also speaks directly to the anxieties of our era, in which so many norms and institutions feel newly precarious. “The Odyssey persists because the world does keep on evanescing behind us,” Cunningham says. “The question of how to move on is always fresh.” Read, watch, and listen with the critics: “The Odyssey” (2026) “Planet of the Apes” (1968) “Oppenheimer” (2023) “Troy” (2004) “Why the Odyssey Keeps Defeating Filmmakers,” by David Denby (The New Yorker) “L’Odissea” (1968) Emily Wilson’s translation of the Odyssey Robert Fagles’s translation of the Odyssey Daniel Mendelsohn’s translation of the Odyssey “The Dark Knight” (2008) Shakespeare’s “Hamlet” New episodes drop every Thursday. Follow Critics at Large wherever you get your podcasts. Critics at Large is a weekly discussion from The New Yorker which explores the latest trends in books, television, film, and more. Join us every Thursday as we make unexpected connections between classic texts and pop culture. Learn more about your ad choices. Visit podcastchoices.com/adchoices

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Critics’ Cult Classics: Hannah Goldfield on the Food World’s Secret Tastemakers

Critics’ Cult Classics: Hannah Goldfield on the Food World’s Secret Tastemakers

In the second in a series of Critics at Large interview episodes devoted to the topic of cult classics, Naomi Fry talks with the New Yorker staff writer Hannah Goldfield about how that designation app...

13 Elo 39min

Critics’ Cult Classics: Hanif Abdurraqib on Camp Lo’s “Uptown Saturday Night”

Critics’ Cult Classics: Hanif Abdurraqib on Camp Lo’s “Uptown Saturday Night”

When it dropped in January of 1997, Camp Lo’s “Uptown Saturday Night” thrilled some listeners and confounded others. On the first in a series of Critics at Large interview episodes devoted to resurfac...

6 Elo 46min

The Irony and the Ecstasy of Colson Whitehead

The Irony and the Ecstasy of Colson Whitehead

Colson Whitehead’s ascent in the literary world has seemed, like much of what he does, impressively effortless. Though he’s best known for “The Underground Railroad” and “The Nickel Boys”—both of whic...

30 Heinä 50min

The Golden Age of the American Idiot

The Golden Age of the American Idiot

The new game show “Nation’s Dumbest,” flips the classic “Jeopardy!” script on its head. The format: twelve famous-ish contestants are peppered with basic logic and trivia questions. The twist is that ...

23 Heinä 52min

An American Playlist

An American Playlist

This week, to commemorate two hundred and fifty years of the American experiment, Vinson Cunningham, Naomi Fry, and Alexandra Schwartz present an American playlist. On this special episode, the hosts ...

2 Heinä 59min

From The Political Scene: The Politics of the Big Game

From The Political Scene: The Politics of the Big Game

Critics at Large will be back next week. In the meantime, you can hear Vinson Cunningham and Naomi Fry on a recent episode of The New Yorker’s Political Scene, hosted by Tyler Foggatt, where they cons...

25 Kesä 37min

Steven Spielberg’s Blockbusters

Steven Spielberg’s Blockbusters

When “Jaws” hit theatres in 1975, no one—neither the studio executives involved nor the film’s twenty-six-year-old director, Steven Spielberg—was betting on its success. But it dominated at the box of...

18 Kesä 55min

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