El Eternauta, a free and Argentine version of The Odyssey

The Argentine comic book El Eternauta, created by Héctor Germán Oesterheld, has been identified as a free adaptation of Homer’s Odyssey with remarkable fidelity. This revelation comes amid discussions surrounding Christopher Nolan’s recent cinematic adaptation of the ancient epic, which has drawn praise for its visual innovation but has also sparked renewed interest in earlier interpretations of the work. The connection between El Eternauta and Odyssey lies not only in thematic parallels but in direct narrative echoes, including specific scenes that mirror those found in Homer’s text. Oesterheld, whose literary fascination with Greek culture began early in life, was deeply influenced by classical works. His wife, Elsa, recalled how he displayed an extraordinary knowledge of Greek philosophy and literature even during his school years. Instead of taking exams in philosophy, she recounted, he would often be asked to teach the subject to his classmates. He knew the texts so well that they were treated as second nature, “like an ABC,” she said. When Elsa met Oesterheld through mutual friends, she was told he was “Sócrates.” She remained uncertain whether this was his real name, a pseudonym, or simply a nickname. It took her two months to discover the truth, that he was a scholar of Greek literature, and thus the moniker was fitting. This deep engagement with Greek culture is evident in El Eternauta, where the protagonist, Juan Salvo, mirrors the journey of Odysseus. The story begins with a scene that directly replicates the seventh canto of the Odyssey. In both narratives, the hero emerges from the sea after a shipwreck and receives aid from Athena, who cloaks him in mist to make him invisible. This allows him to enter the palace unnoticed before revealing himself to the court. The description of the moment, where the mist dissipates and the hero becomes visible to stunned spectators, is nearly identical to Homer’s account. In the Odyssey, Odysseus asks the rulers of Phaeacia for shelter, and they offer him hospitality. Similarly, in El Eternauta, Juan Salvo requests refuge from the writer, who is portrayed as a figure akin to the Phaeacian king. Nolan’s adaptation omitted this particular scene, yet Oesterheld included it in his comic. In doing so, he introduced a layer of metafictional commentary. As Juan Salvo recounts his tale to the writer, he says, “It’s like believing in ghosts!” The writer, representing Oesterheld himself, responds with astonishment, echoing the reaction of the Phaeacians upon seeing Odysseus. The dialogue between them, where Juan Salvo hesitates before revealing his identity and describes his travels among many peoples, parallels Odysseus’s response when questioned by Alcinous. Both men speak of their long journeys and the hardships endured, using similar phrasing. In the cinematic version, Ricardo Darín portrays Juan Salvo, bringing the character to life with nuance and depth. The narrative structure of El Eternauta continues to echo Homeric themes, such as the hero’s quest, encounters with mythical beings, and the search for home. These elements have made the comic a cornerstone of Argentine literature, and its relationship to the Odyssey adds another dimension to its enduring legacy. As the debate over adaptations of classic texts continues, El Eternauta stands as a testament to the power of storytelling across cultures and mediums. Its intricate homage to Homer highlights the timeless appeal of the Odyssey and the ways in which new generations continue to reinterpret its themes.