Italo Calvino’s literary journey showcases an intriguing evolution from neorealism to postmodernism. He initially gained recognition for his neorealist narratives, which grounded themselves in the sociopolitical realities of post-war Italy. However, as his career progressed, Calvino shifted towards crafting imaginative postmodern fables, such as Le citta invisibili (1972; Invisible Cities, 1974) and Il castello dei destini incrociati (1969, 1973; The Castle of Crossed Destinies, 1977). These works are characterized by their intricate structures and themes exploring the boundaries of fiction and reality.

In this regard, The Non-Existent Knight holds a unique place in Calvino’s oeuvre. Published as part of his transition into postmodernism, this work stands as a pivotal creation that captures the dual facets of Calvino's artistic brilliance. On one hand, it reflects his enduring interest in social issues, depicting themes of identity and existential inquiry within the frame of a knight’s tale. On the other hand, it embraces the playful, non-referential artistry that defines his postmodern phase, where narrative forms are experimented with and altered.

The charm of The Non-Existent Knight lies in its seamless blend of these seemingly divergent elements. Calvino’s narrative simultaneously engages with serious social commentary while indulging in the whimsical and abstract. This synthesis of opposites not only enriches the reader’s experience but also exemplifies the harmonious coexistence of social consciousness and literary innovation. As characters like Bradamante and Sister Theodora demonstrate, these dualities do not clash but rather complement each other, creating a work that resonates on multiple levels.