The Fortress of Solitude (novel) - Literary Significance and Reception

Literary Significance and Reception

A common point of criticism of The Fortress of Solitude is the misplaced idea of the magic ring that confers the abilities of flight and invisibility. Though it does tie in with the sporadic comic book theme, it seems a jarring departure from the stark traumatic reality of Dylan’s childhood. Some critics see it as almost a gimmick; the glaring unreality of superhero fantasy is an unforgettable and almost unforgivable trait of the book. On the other hand, the magic powers of the ring only enhance the innocence, idealism and, to a degree, naiveté of Dylan’s childhood. Our main characters soon learn that “ solve much of anything. A caped crime fighter is powerless against the shape-shifting demons of racism. A white boy might dream of becoming invisible, while a black man, whether or not he's read Ralph Ellison, might worry that he already is.” (A. O. Scott, New York Times)

Another recurring issue is the switch from third person narration in Part One of the novel to Dylan’s first person perspective in Part Three. Lethem intended this change to show the reader the pure, idyllic quality of innocence and childhood and the abrupt ending that Dylan experiences. As he said in an interview, “I did want to portray the kind of dream quality that childhood has. Being pulled out of it at the end of that section is sort of a rupture. Even though on the face it's a difficult childhood that Dylan has, it seems like a paradise lost once it's lost... You do become closer to him in the sense that first person forces an identification, but I think it's an uncomfortable one then because he's kind of a shit in the last part of the book and you loved him in the first part... I think there's almost a sense of betrayal that you feel when you encounter the small-mindedness of his adult life and the puniness of his moral sphere." (interview by Jay MacDonald, 2003) This switch is often viewed as detracting, since the adult Dylan is less evocative than the boy. However, this also supports the counter-argument that Dylan’s first person narration only strengthens the fact that he has become hollow and hopelessly lost.