"[Initially referring to Dahl's attitude towards Jews.] This raises the question whether this is a man whose fictions should be allowed into our children's minds. But the point is that, as he hides himself away in his hit to play with the slapstick-horrific side of a child's imagination, he also sloughs off the world. Israel, his own life, modern novelists all slip away, leaving him to create in peace and innocence. He says he does not even observe his four grand children for inspiration — it all comes over him in the hut. But this dissociation is not as neat as Dahl would like to believe. His own childhood traumas and adult misanthropy are all too obviously present in the books — passages from his autobiography read precisely like one of his stories. Life and Dahl's art do walk hand in hand, even if he has no desire or obligation to ponder the fact. The stories are not the detached fantasies he imagines. They are anti-authoritarian tracts. And the truth is that Dahl himself should disapprove of his own books, for all his attitudes are those of a hard authoritarian, disgusted by indiscipline, television and all the other seductions of the modern world."