Roald Dahl carved a distinctive niche in children's literature with his imaginative tales, weaving together whimsical adventures and darker undertones that captivated young audiences. His renowned works, such as Charlie and the Chocolate Factory (1964), which later morphed into a beloved film, along with James and the Giant Peach (1967), The BFG (1982), and The Witches (1983), have fortified his reputation as a master storyteller. Dahl's narratives are celebrated for their rich exploration of childhood and the boundless realms of imagination, deftly balancing the magical with the menacing.

Yet, this blend of delight and darkness sparked controversy when Dahl turned his pen to autobiography. His memoir, Boy, was met with a mixed critical reception. Anne L. Okie, writing for the School Library Journal, criticized its explicit depiction of violence, feeling that the memoir failed to harmonize its more grotesque elements with familial warmth. Horn Book drew parallels between Boy and the somber narratives of Charles Dickens, questioning the memoir's suitability for younger readers and suggesting it might better serve adult fans of juvenile literature and Dahl’s work.

Contrastingly, Booklist defended the graphic elements as an essential reflection of Dahl's childhood experiences, arguing that they were far from gratuitous. Some critics believed that the memoir's strength lay in its juxtaposition of ordinary life and the lurking threat posed by nature and authority figures. Regardless of differing opinions on its explicit content, reviewers unanimously praised Dahl for his vivid and straightforward writing style.

The concluding chapter of Boy hints at Dahl's early manhood, capturing his adventures in East Africa and briefly touching upon his experiences as a World War II pilot. These wartime stories, deemed inappropriate for Boy, later found a home in another autobiographical work, Going Solo (1986), where Dahl further chronicles his daring exploits during his tenure with the Royal Air Force.