The Wrong Blood

“Absorbing…artfully translated by John Cullen…While the uncovering of secrets provides the spine of the narrative, its appeal lies in the way de Lope makes us question just how separate the past and present may really be…De Lope has written a fever dream of a novel.” —New York Times Book Review

“Balancing the domestic and the tragic, The Wrong Blood explores the ways in which political history and personal histories intertwine: it is an invaluable reminder of how, in the midst of war, love and continuity preserve potential for a richer life despite what seems to be utter disaster.” —PRI’s The World

“De Lope evokes his characters’ interior lives and their outer surroundings with equal beauty and intensity. This masterful novel is his first to be translated into English. Let’s hope there are more.” —Booklist
 
“…the American debut of a celebrated Spanish novelist reads rapturously…the prose…pulsates and palpitates.” —Kirkus Reviews

“De Lope is a masterly writer, constructing a shadowy architecture to house his expansive prose, intertwining plotlines, and themes of misfortune, solitude, and memory. Highly evocative of time and place, this resonant work will linger in readers’ minds. Recommended.” —Library Journal

“Reading The Wrong Blood is like surrendering to a hypnotist. Manuel DeLope’s subject is the fluidity of time and the pitilessness of war as played out in the lives of two women who quietly conspire to commit a victimless crime. The style is a marvel of precision and patience, resulting in an atmosphere so saturated with suspense that I found myself wanting to read more slowly, even as I breathlessly anticipated the next paragraph. I’ve seldom read a more sublime and disturbing novel.” —Valerie Martin, author of The Confessions of Edward Day

“The Wrong Blood is a prose-poem to the furtive compromises that mitigate grief, and allow human survival at desperate times. Written with elegant ambiguity: I loved it.” — Dave Boling, author of Guernica
 
“The Wrong Blood is a powerful novel suffused from beginning to end with a terrible, suppressed violence.  Its chief virtue lies in showing us that war—every war—is like a distorting mirror: the soul never recovers from the monstrous vision reflected there.” — Mayra Montero, author of The Messenger and Dancing to “Almendra”

“Moving and harrowing…the reader has been stirred to the core.” —The Financial Times
 
“Amid the current outpouring of Civil War fiction in Spain, the books of Manuel de Lope and María Barbal…should be top of interested readers’ lists.” —The Independent