This article gives an overview of the style and language of the Milanese writer Carlo Emilio Gadda particularly of his masterpiece of "Quer Pasticciaccio brutto de via Merulana", invaded by an abundant pluriuism and an infinite intertextuality. In this study I tried to investigate, through a stylistic-lexical study, the pastiche and linguistic experimentalism in the work of the "Pasticciaccio" by Carlo Emilio Gadda. The word "pastiche" is used to describe a literary text that blends multiple genres of disparate provenance, through casts and imitations of styles and forms of different origins. The reason that inspired me to be interested in Carlo Emilio Gadda comes from reading his particular novel Quer Pasticciaccio brutto de via Merulana published in its definitive version in 1957 by the publisher Garzanti. Many research axes can be begun by browsing Gadda's works on the stylistic, linguistic, thematic, philological, technical, philosophical and other levels. Consequently, an analysis of the vocabulary of technical-scientific language will be carefully studied. Gadda opts to use the term pastiche that critics (first of all Gianfranco Contini) had used since the early 1930s to describe his particular style. The dialects are interrupted by quotations from Latin, ancient Greek, French and German,