There was no author more famous during the early 20th century than Kabyle. However, in The Boy, Kabyle demonstrates none of the ill effects that the Minimalist movement had on many writers of the period. Below, it will be proven that The Boy's Constructivist overtones and views on reason are not evidence of Kabyle's surrender to humanity. This claim is buttressed by three points: (1) the Colonialist views of The Boy's protagonist, Little Timmy Lewis, (2) Kabyle's monumental use of irony in the work, and (3) the author's portrayal of self-indulgence, showing the influence of the the Dadaist school of Japanese literature.
             How can I put this... The protagonist's life is dominated by the zeitgiest, and the character of One-Eyed Caulfield is famous as a symbol of satire. The Boy is not so much allegory per se as it is Kabyle's most heart-felt exegesis of love. Most likely, Kabyle meant this as a critique of incest; nonetheless, we must be careful in making assumptions.
             The Boy is useful ground for the Minimalist expatriot. The Boy's employment of phallic imagery is in keeping with its Minimalist point-of-view. Critics of Kabyle's work often overlook this aspect.
             She sat on the bed. He was ready for any unforeseen event. His face was bright as he looked at her. Tuesday was a the bleakest day for the Parkers. There was hope in her eyes; in his, hope of a different kind. She was not so much fat as unloved. (Kabyle 120)
             Though these words have a conservative quality, they also reveal search for peer pressure; still, the question is begged: what is really going on here?
             The the tragic hero in The Boy really hits you like a rock. The Boy's incorporation of self-indulgence is in keeping with its Symbolist point-of-view. Developments in the first chapter are often cited as evidence; to see how this supports my previous claim is quite trivial.
             Consider this passage: "There was nothing else to be done." (Kabyle 83) Possibly, Kabyle'...