Everyone knows how dumb it is to be this person: the one who mourns the film adaptation of a favourite text because it misses out this scene, or misreads that particularly beloved character, or has a slightly “inauthentic” take on some detail. Of course I’m talking about Christopher Nolan’s film adaptation of the Odyssey, a poem I have loved since I was a teenager. I enjoyed the movie, in common with a huge number of other people. It seems remarkable, even dizzying, that the adaptation of a nearly 3,000-year-old poem took $264m (£196m) at the box office over its opening weekend, has sent translations of the Odyssey surging up the bestseller charts, and is sold out (for instance) at London’s BFI Imax screen deep into September. We are living in an Odyssey time, amid an Odyssey frenzy.

There is no point trying to be a purist about a beloved classic text. Whoever reads the Odyssey, including Nolan, inescapably does so through the prism of their prejudices, informed by the conditions of their own place and time. Since the Odyssey is the result of decades, maybe centuries, of non-literate oral poets working with memory and improvisation, there’s no precise “original” place or time to return to, anyway. But what I can’t help doing is observe the choices Nolan has made and think about their consequences – because there are always divides in the road, paths not taken by any adapter.

Nolan is brilliant at recreating one aspect of the original poem: its complicated structure. The poem tells the story of the decade-long return journey from the siege of Troy of its hero, Odysseus: the adventures he has along the way and how he reinstates himself as the head of his household once he’s home. There are monsters and witches and magic and storms at sea. And then he must infiltrate himself into his home disguised as a beggar,........

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