The article intends to present a detailed study of the order of the sentence elements in Lies of the Night(1988) by Gesualdo Bufalino (1920–96). This contribution examines the methods and purposes that the marked syntax carries out within the novel project, which is characterized by experimentation of the complex narrative and linguistic device. Adopting a historical-linguistic cut, the postposition of the subject to the verb (rhematic subject and parenthetic thematic subject), the dislocation to the left and the suspended theme are examined. Through qualitative analyzes of selected textual samples, three key functions of the marked syntax useful for the interpretation of the novel are shown: the twists and turns of the short story; the characterization of romantic heroes and their language; the portrait technique and the fabulous tone. The study reveals that the use of marked syntax is aimed at creating a legendary and fabulous epic,