In July 1947, the Cuban Author Alejo Carpentier traveled from his home in caracas to the sparsely inhabited interior of venezuela, visiting the country's tropical forests and its great plains. At the time, Carpentier was known principally as a music critic and newspaper columnist for El Nacional in Venezuela and Carteles in Cuba; he had yet to publish El reino de este mundo (The Kingdom of This World; 1949), which would launch his career as a novelist and earn him international renown. Carpentier later wrote a novel about a trip much like the one he took in 1947. In the now-canonical Los pasos perdidos (The Lost Steps; 1953), a failed composer finds inspiration by traveling from a cosmopolitan city to the tropical forests of South America. Carpentier's creativity was similarly sparked by his trip to the Venezuelan wilderness, as his travel diary Notas del viaje a la Gran Sabana (Notes on the Trip to the Great Savannah) makes clear. Notas is the only contemporary account of the journey written by Carpentier, who later made contradictory statements about the details and even the number of trips he took. Beyond its documentary value, the travel diary reveals that Carpentier's experience was deeply enmeshed with his readings, a characteristic that also marks the narrator-protagonist of Los pasos perdidos. Moreover, Notas is of broad ecocritical and historical significance because it makes clear the extent to which the forests and plains of South America were changing during Venezuela's boom in oil drilling and gold mining in the 1940s. Inspired by what he witnessed in Venezuela, Carpentier created the central drama of Los pasos perdidos out of his protagonist's desire to inhabit what the author called the “mundo del Genesis” (“world of Genesis”) at a time when extractive industries were rapidly transforming the economies, ecologies, and societies of the region (“La Gran Sabana” 32).