In an unexpected twist, a Hollywood epic has contributed to Britain’s best-ever half-year in poetry sales

In a short story called Career Move, published in the New Yorker in 1992, Martin Amis imagined a world in which screenwriters wrote for little magazines and earned a pittance while poets were global superstars. Amis’s story, a wonderfully ironic inversion of the time-honoured norm, was surprisingly prescient: the film and TV industries have been struggling, with screenwriters facing contracting outlets for their creations, whereas poets are now big business.

The Bookseller reported recently that poetry sales were at a historic high. Part of the increase can be attributed to Christopher Nolan’s film The Odyssey, which has made Homer hot: editions of The Odyssey and its prequel, The Iliad, have garnered almost £1m in book sales in the UK this year. (As well as valiantly trying to keep the ailing film industry afloat, Nolan has also created a craze for epic poetry.) But Nolan’s film does not solely account for the boom in poetry sales. Even without the Homer run, sales of poetry texts and anthologies were still up by 7.2% from what was historically already a very high base.

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Pulp Fiction co-writer Roger Avary wants to bring the epic poem to the big screen using the power of artificial intelligence. It can’t be any good

The thing about unfilmable works of literature is that most of them eventually turn out to be quite filmable after all. The Lord of the Rings was a bit of a mess when shot in rotoscope on a minuscule budget by the guy who filmed Fritz the Cat; it won Oscars when handed to Peter Jackson, given the GDP of a small nation and a visual effects department the size of Gondor. The 1984 version of Dune was a disappointment, despite the presence of David Lynch in the director’s chair, largely because all that gleaming, tawdry galactic opulence couldn’t make up for the comprehensively bad acting, clotted exposition and obsession with freaky heart plugs. And yet the 2021 adaptation from Denis Villeneuve ended up being a tour de force of masterly restraint and monolithic scale.

Milton’s Paradise Lost? The 17th-century epic poem has always felt like an outlier, a work of literature too religiously inspired to be filmed purely as a work of fantasy, yet too riotously bonkers to be treated with puritanical reverence. It contains more drama than the entire Marvel Cinematic Universe in every line of thunderous God-baiting iambic pentameter. And now Roger Avary, co-writer of Pulp Fiction and director of Killing Zoe and The Rules of Attraction, wants to bring it to the big screen using the power of AI.