This study compares the reception of two Persian translations of Louis-Ferdinand Céline's Voyage au bout de la nuit (Journey to the End of the Night) (1932), namely Farhad Ghabraei's direct translation from the French original and Peyman Khaksar's translation from the novel's English rendering. The study investigates how the two translations were received by Iranian readers and critics, using Hans Robert Jauss's concept of the horizon of expectations and Lawrence Venuti's concepts of (in)visibility. A mixed-methods design was employed, combining quantitative data from 120 questionnaires administered to undergraduate and graduate students of Persian, English, and French literature, Translation Studies, and English Teaching, as well as general readers; qualitative insights from interviews with five scholars in Translation Studies and French Literature; and a paratextual analysis of the two translations, their prefaces, and footnotes. The findings reveal a clear divergence in reception, where questionaries’ participants preferred Khaksar's translation for its audience-oriented approach and textual fluency, whereas experts favored Ghabraei's translation for its fidelity to the author's style and aesthetic values. The study contributes to reception research in translation studies by showing how translation strategy, reader profile, and evaluative criteria intersect in shaping the fate of a literary work in a new cultural context.