In 1933, during a period when Italian literature was steeped in the influence of Fascism, one novel emerged that stood apart from the prevailing cultural norms: Barnabo of the Mountains by Dino Buzzati. At a time when the regime propagated a blend of rural and mythical heroism, Buzzati carved his own path, delving into introspective themes rather than engaging with the political zeitgeist. His debut novel, alongside its successor, Il segreto del Bosco Vecchio (1935; The Secret of the Old Wood), did not garner significant critical attention. The surrealistic undertones and moral fable nature of Barnabo of the Mountains distanced it from the socio-political expectations of the era, yet it remained unobtrusive enough to escape censorship or opposition from the authorities.

Despite its detachment from contemporary realities, Buzzati's work is not entirely removed from the tangible world. The novel grounds itself in a realistic setting populated by equally realistic characters. It is the infusion of anxiety and mystery that imbues the narrative with an absurd, almost supernatural essence. The brigands in the story, for instance, while literal representations of robbers or smugglers, are also cloaked in a spectral aura, adding layers to their presence and purpose within the novel.

Buzzati’s distinctive style, which mingles existential contemplation with fantastical elements, is further evidenced in the English translation of his works found in Lawrence Venuti's collection, The Siren (1984). Barnabo of the Mountains serves as an early indication of the existential dread intertwined with allegorical storytelling that Buzzati would continue to explore in his later writings. This thematic evolution is especially prominent in Il deserto dei Tartari (1940; The Tartar Steppe, 1952), a work often hailed as his masterpiece. Here, Buzzati continues to traverse the delicate balance between human introspection and an imagined, symbolic universe.