In this episode of NPR's Book of the Day, Joel Rose speaks with Emily Wilson about her work translating classical Greek and Roman texts for contemporary readers. Wilson discusses her translation philosophy, explaining when retranslations are justified and how they reveal new dimensions of ancient works. She addresses the creative challenges of rendering Greek idioms and superlatives into English while preserving the oral, performative nature of epic poetry.
The conversation covers how the literary canon shifts over time to reflect changing cultural values, and explores the modern relevance of classical works through adaptations like Christopher Nolan's recent film version of "The Odyssey." Wilson emphasizes the emotional power and psychological depth embedded in Homer's poetry, describing how her translation approach and expressive performance style aim to help modern audiences experience the theatrical force that characterized these works in their original context.

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In this episode, Joel Rose speaks with Emily Wilson about translating classical Greek and Roman texts for modern audiences. Wilson emphasizes that retranslations are only justified when they offer genuinely distinct perspectives from existing versions. She explains that studying differences between translations illuminates new dimensions of the original texts, even for readers who don't know Greek or Latin.
Wilson discusses the creative challenges of translating ancient Greek idioms into English. Greek superlatives, for instance, are compact single words, while English requires multiple strategies to convey similar impact. She describes weighing terms like "dread," "horror," or "violence" to capture the emotional and semantic weight of Greek originals. Wilson also notes that epic poems originated from oral tradition, requiring translators to preserve their dynamic, performative nature—acting as custodians of theatrical authenticity by conveying the intense emotions and shifting perspectives that characterized original performances.
Wilson explores how the literary canon constantly shifts to reflect changing cultural values. She points out that works once considered essential, like those of Plautus and Terence in Shakespeare's time, can fade from curricula, while other texts gain prominence. Wilson cautions against viewing either the past or present as monolithic, arguing that both are characterized by diversity and ongoing change. The canon is continuously reshaped by current concerns, making the relationship between past and present dynamic rather than static.
Rose examines how Christopher Nolan's blockbuster film adaptation of "The Odyssey" demonstrates ancient stories' enduring appeal. The movie's box office success has revived interest in the epic and sparked debates about adaptation fidelity. Wilson, positioned at the center of these conversations, has expressed skepticism about Nolan's interpretation, fueling discussions about how classical literature should be understood and reimagined. She acknowledges that even "click-baity silliness" in online discourse can direct attention back to source material, amplifying interest in the classical canon.
Wilson's translation approach foregrounds the psychological depth and emotional intensity of Homer's epics. She describes passages like Odysseus melting into tears, compared through extended simile to a widow's grief, demonstrating how calibrated language captures raw emotional texture. Rose observes that Wilson's animated, expressive performance style contrasts sharply with flat modern poetry readings. Wilson explains that classical poetry was meant to evoke powerful emotions and offer vivid perspectives, and her dynamic delivery aims to restore the theatrical dimension that helps contemporary audiences experience the living emotional force of ancient poetry.
1-Page Summary
Emily Wilson emphasizes that with the abundance of available translations of canonical Greek and Roman texts, producing a retranslation is only justified if it offers a truly distinct perspective. She asserts, as quoted by Joel Rose, "'It is a waste of everyone's time if a retranslation takes more or less the same approach as one or more existing published translations.'" Wilson notes that Greek and Roman works are retranslated far more frequently than other ancient literatures, often resulting in multiple vastly different versions. The value of these retranslations, Wilson explains, lies in the differences between them, which, even for those unable to read the original language, can illuminate new dimensions of meaning and interpretation within the ancient texts.
Wilson firmly believes that the justification for retranslation comes when the translator brings a fresh approach to the text, rather than reiterating what is already established by other translators. Only translations that make a new interpretive or stylistic choice truly add value to the corpus of available works.
She points out that studying the variations among different translations reveals nuances in the original, offering readers fresh insights even if they do not know Greek or Latin. Each new translation, by highlighting or focusing on different aspects, provides a richer collective understanding of the classical text.
Wilson delves into the specific creative obstacles translators face when moving from ancient Greek to modern English, particularly regarding idiomatic expressions and intensified descriptions.
She gives the example of a superlative in Greek used at the end of a description of Odysseus’s ultimate war achievement: the original Greek says he dared "tolme santa einotaton polemon," referring to "the most terrible kind of war." In ancient Greek, such superlatives are often simple, compact single words. English, however, lacks such elasticity, requiring translators to use different strategies—sometimes more verbose or indirect—to communicate similar maximal impact.
Wilson describes her thought process, weighing terms like "dread," "horror," or even the phrase "most maximally violent kin ...
Translation Philosophy: Retranslation Value and Classical Text Challenges in Modern English
Emily Wilson explores the idea that the literary canon is never truly fixed. Instead, it reflects shifting cultural values, interests, and interpretations throughout history.
Wilson emphasizes that canons are always in flux. She explains that people often imagine that certain works, like Homer, have always been centrally important, but this perception is shaped by present-day values. She illustrates this by noting that writers during Shakespeare’s era would have been shocked to learn that Plautus and Terence, once foundational to a standard education, might one day be left out of the curriculum. This example demonstrates that what is considered essential reading can change dramatically over the centuries.
Wilson further describes a cycle in which literary and cultural works gain and lose prominence. Some works or figures become newly resonant as societies change, while others fade into obscurity, only to be rediscovered and re-evaluated later. The rise and fall of certain texts within the canon reveal that cultural significance is not permanent, but subject to continuous negotiation and reassessment according to contemporary needs.
Wilson cautions against broad generalizations—such as pre ...
Literary Canon Shifts: Classical Works' Relevance or Obsolescence in Historical and Cultural Contexts
Joel Rose explores how ancient Greek epic poetry, particularly Homer's "The Odyssey," maintains cultural relevance in modern times through high-profile adaptations and contemporary discourse.
Christopher Nolan’s blockbuster film adaptation of "The Odyssey" demonstrates the enduring allure of ancient stories. The movie’s massive box office success, racking up more than half a billion dollars domestically, revives the epic for a new generation and point of entry into classic literature.
Beyond the film's commercial success, the adaptation has sparked vibrant discussion about how faithfully modern films should adhere to original ancient texts. Emily Wilson, a renowned classicist and widely read translator of "The Odyssey" and the "Iliad," finds herself at the center of this conversation. Wilson, unafraid to express her skepticism about Nolan’s film, has started discussions about the film’s interpretation and the fidelity required in adapting ancient works. Her public stance fuels debates in both scholarly and popular circles over how classical literature should be understood and reimagined for new audiences.
Wilson acknowledges the paradox of modern media: while much of the online discussion is what she calls "c ...
Classical Literature's Cultural Role: Ancient Texts’ Modern Relevance and Adaptations
Emily Wilson’s translation of Homer’s epics foregrounds the psychological depth and emotional intensity central to the original poetry. In her reading, she describes Odysseus melting into tears, his cheeks wet with weeping. Homer employs an extended simile, comparing Odysseus’s grief to that of a widow who falls to wrap her arms around her husband, slain while defending his home and children. The widow is forced to witness him gasp his last breaths before being dragged off to slavery, her face marked with unspeakable despair. This vivid depiction demands translators use calibrated, resonant language to convey the raw emotional texture of the scene. If these passages are rendered flatly or with mere literalness, the violent, sorrowful, and intimate poetic details lose their power and fail to move contemporary readers as Homer intended.
Joel Rose observes that many modern poetry readings adopt a flat, dry delivery, which stands in stark contrast to Wilson’s animated and expressive performance. Wilson explains that classical poetry like Homer’s was always meant to evoke p ...
Performative and Emotional Dimensions of Classical Poetry: Capturing Theatrical Intensity in Homer's Epics
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