Wilson, whose work on Homer’s epic was praised by Nolan, said his film was grandiose and superficial with ‘nothing convincing to say’
Andrew Pulver
Monday 27 July 2026
The novelist suggested Wilson should have been ‘a wee bit more thoughtful and respectful’ towards a film-maker who may have helped boost her book sales
Catherine Shoard
Thursday 30 July 2026
The off-screen drama surrounding Christopher Nolan’s blockbuster version of the Odyssey stepped up a gear overnight, as the novelist Joyce Carol Oates sought to defend the film-maker from an attack by classicist Emily Wilson.
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The nearly 2,700-year-old epic poem is flying off shelves at bookstores and libraries after the blockbuster film came out
Christopher Nolan’s new movie The Odyssey has already broken several records, but its most significant accomplishment might be turning a nearly 2,700-year-old epic poem into the most sought-after book in America. Libraries and bookstores alike are experiencing a rush.
Having established the broader theoretical framework, this section turns to the medium itself. The transition from still images to moving images introduces a new set of challenges and possibilities. Motion not only reshapes how meaning is constructed but also alters the way audiences perceive, interpret, and emotionally engage with visual narratives.
She paved the way for Bridgerton, lit up Black Mirror’s most joyful episode – and now she stars in a grisly supernatural horror about slavery. The Belle star talks about Possession, partying with Prince and why she loves to shake things up
Emma Loffhagen
Friday 24 July 2026
God is good all the time,” laughs Hannah Einbinder. She’s fresh off a plane from Los Angeles and curled up barefoot in an armchair. This, she says, is “a crazy time in life. Starring in Teenage Sex and Death at Camp Miasma in the midst of Hack ending it’s definitely an embarrassment of riches.”
This stylish biography of the author traces his journey from left to right, and from ‘posh Lima’ to Cricklewo
At what precise moment had Peru fucked itself up?” Those words on the opening page of Conversation in the Cathedral announced the arrival of a writer who understood that national history could become the organising principle of fiction. At precisely the moment when Latin America was discovering the intoxicating possibilities of magical realism – a form whose exuberance had an elective affinity with revolutionary politics, collapsing the distinction between the marvellous and the possible – Mario Vargas Llosa plumped for old-fashioned realism instead.
