What is so innovative in the classical Enlightenment novel “Robinson Crusoe” after all?

“Robinson Crusoe” explores the well-trodden theme of a shipwreck and a castaway, a narrative not only lacking originality but also grounded in a true story, making it part of a vast array of similar novels predating and postdating its publication. Nonetheless, this particular work retains an unassailable status within the literary canon.

A conspicuous deviation from other works of its time is the notably atypical first-person narrative. Another compelling facet is the novel’s unique form — an extraordinary blend of a diary, an adventure narrative, a sermon, and a survival guide.

Odd as it may seem, “Robinson Crusoe” ostensibly presents itself as an adventure novel, yet the dynamic of the adventures in the first, second, and third parts of the book is flawed, with the latter two resembling philosophical treatises more than narratives.

In reality, the entire novel lacks emotional engagement while simultaneously — perhaps even more peculiarly — lacking a robust plot and certainly lacking an abundance of twists, ultimately giving way to profound reflections. Further idiosyncrasies include the constant duplicity and ironic turns of the main, almost solitary character. One might anticipate psychological depth to prevail, but, in yet another ironic twist, it remains elusive.

It is essential, nonetheless, to underscore the unparalleled scope and imaginative prowess of the story, replete with minutely realistic details. None of the prototypes and certainly none of the imitations of “Robinson Crusoe” can lay claim to a more profound impact and intensity.