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Christopher Nolan's film adaptation of "The Odyssey" has drawn large audiences to theaters and fueled a surge of interest across the U.K. in Homer's ancient poem and other works of Greek and Roman mythology.
Some classics academics hope the blockbuster's box office success and wider cultural impact will also prompt more young people to study the subject.
The movie's mid-month release helped hike U.K. print edition sales of "The Odyssey" by 1,400% in the four weeks to July 25 compared to the same period last year, according to market researchers NielsenIQ.
A 2017 translation of the millennia-old mythological tale by British-American classicist Emily Wilson has been flying off the shelves at a similarly increased rate.
Britain's biggest bookstore chain, Waterstones, saw sales of Wilson's work rise over 1,000% compared to 2025, and a spokeswoman said figures were "increasing every week" alongside purchases of "all other available translations."
Meanwhile, NielsenIQ noted that many related works—including "The Iliad," Madeline Miller's "Circe," and Margaret Atwood's "The Penelopiad"—had also seen significant sales uplifts.
Actor and writer Stephen Fry's "The Odyssey" currently tops the history bestsellers on Amazon's U.K. website. Two of his other books, "Mythos" and "Troy," occupy the second and fifth spots, respectively, on the online giant's list. Audiobooks are also sharing in the boom, with Spotify reporting that searches for "The Odyssey" translations have skyrocketed by 310%.
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"People are drawn to these stories," University of Exeter classics lecturer Richard Kendall said, hailing the sales spike as "fantastic."
"And that's not just writers who continually return to the Greeks and Romans, the history, the myths, the characters, the events; that's also readers. These are ripping good yarns."
Kendall, who served as the first expert-in-residence earlier this year at Britain's The Classical Association, cautioned against viewing the renewed literary interest in isolation.
"If this is a gimmick, it's been a gimmick that's been lasting for over 2,000 years at this point," he said. "It's wonderful that this has created so much popularity. People are reading more, but this is just this iteration ... People will always return to these stories."
Nonetheless, at University College London (UCL), where British-American director Nolan reportedly studied Homer as an English undergraduate, there are hopes for an increase in enrollments.
"The buzz around the film has been tremendous, and we're hoping to see a bounce in student numbers in the next few years," Phiroze Vasunia, head of its Greek and Latin Department, stated.
He noted there had been "an exceptional level of interest in classics and in ancient studies" in recent years, coinciding with the growing fanfare around Nolan's movie.
Based on Homer's poem, written originally in Greek around the seventh or eighth century B.C., the film tracks the hero Odysseus as he faces obstacle after obstacle on his trek home from the Trojan War. It stars Matt Damon and Anne Hathaway as Odysseus and his wife, Penelope, with Tom Holland portraying their son, Telemachus.
Nolan's first movie since the 2023 Oscar-winning "Oppenheimer" has wowed audiences and critics, topping the U.S. box office for two straight weeks and already taking $640 million worldwide. But not everyone has been won over by the modern adaptation of one of humanity's oldest stories.
Wilson, the classicist behind an acclaimed translation that Nolan has praised, generated headlines this week after penning a scathing critique of his screenplay.
"It lacks psychological, emotional, political and ethical depth. I would be ashamed to have written any part of this," she argued in the London Review of Books, a British literary magazine, adding that it "lacks many of the elements that make the poem great." High-profile British historian Mary Beard was similarly unconvinced, though like Wilson, she welcomed the interest in Homer.
Writing in The Times, Beard bemoaned that the poem's "erotic puzzles, the teasing ironies, the intriguing questions about truth and falsehood" had been replaced with "a rather ponderous Hollywood message about civilizational decline."
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