Tommaso Landolfi’s Racconto d’autunno (1947) has often been interpreted by scholars as a (peculiar) Resistance narrative. However, although the novella proceeds from a historical situation, one typical of Resistance novels, it suddenly becomes an undefinable kind of Gothic tale that questions the notion of “liberation” and sheds light on some of the Liberation’s more controversial episodes. Specifically, Landolfi recounts a traumatic episode from the final phase of the war that, at the time, had not yet entered official accounts: the mass rapes and killings that followed the Battle of Monte Cassino (May-June 1944). I argue that Racconto d’autunno employs Gothic fiction and its deceptive strategies to convey the feeling of displacement induced by traumatic war events. The interplay between the natural and supernatural powerfully illustrates the destabilization of the civilian population caused by the war. I demonstrate this by comparing passages from the novella with victims’ oral testimonies of the war, collected by the historian Tommaso Baris. Finally, this article challenges readings of Landolfi’s fiction as predominantly ironic and playful and encourages a deeper historical and cultural contextualization of his works, one that highlights their complex relations to the reality they are immersed in.

托马索·兰多尔菲（Tommaso Landolfi）的《Racconto d'autunno（1947）》经常被学者解释为（特殊的）反抗叙事。但是，尽管中篇小说是从历史情境出发的，这是反抗小说的代表作，但它突然变成了一种无法定义的哥特式故事，对“解放”的概念提出了质疑，并为解放运动中一些更具争议性的事件提供了启示。特别是，兰多尔菲（Landolfi）叙述了战争最后阶段的创伤事件，当时该事件尚未进入官方记录：蒙特卡西诺战役（1944年5月至6月）之后的大规模强奸和杀害。我认为Racconto d'autunno运用哥特式小说及其欺骗策略来传达战争创伤造成的流离失所感。自然与超自然之间的相互作用有力地说明了战争造成的平民不稳定。我通过将中篇小说的片段与受害者的战争口头证言（历史学家汤玛索·巴里斯（Tommaso Baris）收集的）进行比较来证明这一点。最后，本文对兰多尔菲的小说的阅读主要是具有讽刺意味和趣味性的挑战，并鼓励对他的作品进行更深的历史和文化语境化，以突显其与所处现实的复杂关系。