The Lost Steps

Praise

Runner-Up for the Queen Sofía Spanish Institute Translation Prize

“Penguin Classics has recently published sensational new translations of two of Carpentier’s novels, The Lost Steps (1953) and Explosion in a Cathedral (1962). . . . What made them influential, and makes them so dazzlingly readable still, is their style. . . . Needless to say, this marriage of style and subject would be illegible to English-language readers without a first-rate translator, and in Adrian Nathan West, Penguin Classics has found their man.” —The Wall Street Journal

“An erudite yet absorbing adventure story . . . A book full of riches—stylistic, sensory, visual.” —The New York Times Book Review

“Carpentier’s novels are full of luscious descriptions of nature. . . . His descriptions of food and drink are exquisite. . . . The mannered intensity of Carpentier’s language—maintained at fever pitch by West—propels the reader. . . . Every sentence in the novel [is] freighted with learning and a passion for high art. . . . What the reader takes away overall from West’s translation is a freshness and bite and aesthetic ambition that match Carpentier’s.” —Natasha Wimmer, The New York Review of Books

“Extraordinary.” —The New Yorker

“The most remarkable translating feat I encountered in 2023 comes courtesy of Adrian Nathan West, who in The Lost Steps and Explosion in a Cathedral brings the almost orgiastically baroque prose of Alejo Carpentier into glorious English.” —Sam Sacks of The Wall Street Journal, via Twitter

“The grace and energy of [this translation] are of a high standard.” —The Bulwark

“An absolutely magnificent piece of literature . . . The prose is mesmerizing, and it’s one of those books where I just want to have it tattooed on me in its entirety to keep with me forever.” —BuzzFeed

“The greatest novel to have appeared in Latin America in our time.” —Le Figaro Littéraire

“Beautiful and stirring . . . One of [Carpentier’s] finest works . . . which for many readers is the most alluring of his novels.” ―Leonardo Padura, from the Introduction