This article presents a textual analysis of three short stories from Piccola borghesia: Elio Vittorini’s debut work, published in 1931. It examines three aspects: the theme of the characters’ false consciousness, narrative experimentalism, and the text’s emphasis on the filter of consciousness through which the characters perceive reality. These features form part of the modernist aesthetic code, which manifests itself within a spurious work. Recognising this dynamic ultimately allows us to rethink the label of modernism through the image of the grains.