Emily Rose Caroline Wilson (born 1971) is a British American classicist, author, translator, and Professor of Classical Studies at the University of Pennsylvania.

[3] In a Renaissance Quarterly review, Margaret J. Arnold writes: "The exposition challenges Aristotelian ideas of tragic structure, catharsis, and conventional heroism.

[2] A 2019 interview with Robert Wood published in the Los Angeles Review of Books includes discussion by Wilson about the media attention she received as the first woman known to translate the entire Odyssey into English.

Other female translators of Homer – such as Caroline Alexander in English, Rosa Onesti in Italian, and Anne Dacier in French – have made extremely different choices from mine.

[17] In 2019, Wilson was the recipient of a MacArthur Fellowship for her work bringing classical literature to new audiences,[18] and she was appointed the College for Women Class of 1963 Term Professor in the Humanities at the University of Pennsylvania.

[19] In January 2020, Wilson joined the Booker Prize judging panel, alongside Margaret Busby (chair), Lee Child, Sameer Rahim and Lemn Sissay.

[23] In a review for London Review of Books, Colin Burrow discusses "the challenging task of translating the poem into the same number of iambic pentameter lines as there are hexameters in the original", writing: "In order to achieve that level of compression she has to rely heavily on monosyllables, and to make sharp and sometimes simplifying decisions about which of Homer’s implications to make explicit.

This allows Wilson to more effectively bring out the real themes of the poem: the human relationships that bind us into communities, made bittersweet by mortality and loss.

"[2] In The Yale Review, Emily Greenwood writes: "As Simone Weil observed in her perceptive 1941 essay L’Iliade ou le poème de la force, eventually everyone pays, spiritually if not materially: the glory and the futility are intertwined.

"[27] According to Charlotte Higgins, "Reading the Iliad in the midst of Russia's full-scale invasion of Ukraine, which I have reported on, brought the poem home to me in new and disturbing ways.

[28] In a review for the New Statesman, Rowan Williams writes: "The decision to use unrhymed iambic pentameter for the translation is a highly successful one; it is a kind of default rhythm for so much English poetry, especially for long narrative poems, a metre that unobtrusively maps on to ordinary speech patterns and holds our attention just enough to keep us in the circle during the less vivid passages.

"[29] Kirkus Reviews observes the "shortness of Wilson's lines" as compared to other translators, which "abetted by her unfussy diction and lyricism, are easy on the reader's eye and seem to help the mind grasp the breadth of Homer’s canvas at any given moment while still marveling at details".