Barnabo of the Mountains follows the experience of one man, in his relationship with the forbidding but fascinating mountains, through a crisis of honor and cowardice in the course of carrying out his duties as a forest-guard, and his subsequent deeply felt need to prove and redeem himself. Dino Buzzati openly acknowledged the influence of other writers, among them Joseph Conrad, especially Conrad’s Lord Jim (1900). This influence is particularly strong in Barnabo of the Mountains, in the theme of redemption and in the relationship of the characters with the elements and with their environment.
Buzzati’s novella opens with a fantasy map of the area and a precise description of the setting in which the forest-guards live. They are moving their headquarters into the “New House,” built because their previous base, the “Old Mardens’ House,” is falling into disrepair. One of their duties is to guard the “Polveriera,” or “Powder-Magazine,” a hut nestled in the rocks. It was built during a road-building project through the mountains as a place to store explosives. The project abandoned, the explosives remained, and more ammunition was added as the authorities recognized its safe location conveniently close to the border. In the course of the move to the New House, the head forest-guard, an old man full of stories about the inaccessibility and threat of the mountains and the people who died in them, is killed by mountain bandits. Thus, from the beginning, human temporality is emphasized in opposition to the timelessness of the mountains. Del Colle, the old forest-guard, is buried in the mountains, and his grave, with his plumed cap nailed to the rock, remains as a symbol of man’s affinity with this environment.
Buzzati places the reader in a world that combines myth and reality. The towering mountain peaks of the map owe more to Grimm’s fairy tales than to any map of northern Italy, although the setting described is recognizable as the mountains of the Alpine region around Belluno, where Buzzati was born. The “bandits” belong as much to the world of opera as to that of reality. The forest-guards (guardiaboschi, a semimilitary organization responsible for the maintenance of order in the mountains and forest regions) reflect a code of honor as reminiscent of the Old French chansons de geste as of twentieth century militarism.
A hunt for the bandits fails to unearth any trace of them, but the foresters’ interest does not abate. One day Berton, on guard duty, sees a column of smoke. He tells Barnabo and the two reconnoiter on their own. They do not find the bandits, but Barnabo rescues a wounded crow. On their return, Barnabo...
(The entire section is 1105 words.)