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A Clockwork Orange, by Anthony Burgess
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The�only�American edition of the cult classic novel.
A vicious fifteen-year-old "droog" is the central character of this 1963 classic, whose stark terror was captured in Stanley Kubrick's magnificent film of the same title. In Anthony Burgess's nightmare vision of the future, where criminals take over after dark, the story is told by the central character, Alex, who talks in a brutal invented slang that brilliantly renders his and his friends' social pathology. A Clockwork Orange is a frightening fable about good and evil, and the meaning of human freedom. When the state undertakes to reform Alex to "redeem" him the novel asks, "At what cost?" This edition includes the controversial last chapter not published in the first edition and Burgess's introduction "A Clockwork Orange Resucked."
- Sales Rank: #2172217 in Books
- Published on: 2005-01-29
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 6.00" w x .75" l,
- Binding: Hardcover
- 185 pages
From Booklist
*Starred Review* It may be a sign of a great work that it can be misinterpreted by detractors and proponents alike. Contemporary readers who saw Burgess’ 1962 dystopian novel as a celebration of youth violence were as far off base as the teens since then who have thrilled to the transgressive violence it—or, at least, Stanley Kubrick’s film adaptation—depicts. But paradox is at the heart of this book, as this newly restored, fiftieth-anniversary edition makes more clear than ever. Narrated by Alex, a teenage dandy who revels in language (he speaks a slang called Nadsat), music (especially Bach and Beethoven), and violence, especially violence. When imprisoned for murder, he is offered a chance at reform and leaps at it—but the reform turns out to be brainwashing, an aversion therapy that, alas, leaves him able to enjoy neither beatings nor Beethoven. Upon his release he becomes first a victim of his victims, then a cause c�l�bre of antigovernment activists before . . . well, publishers offered different endings to British and American audiences, as readers will discover here. What makes A Clockwork Orange so challenging, besides the language (“He looked a malenky bit poogly when he viddied the four of us”), is Burgess’ willingness to use an unsympathetic protagonist to make his point, which is essentially that it may be better to choose evil than to be forced to be good. (For, as it is put by two different characters: “When a man cannot choose he ceases to be a man.”) Readers can revisit or discover a classic that, while drawing from Aldous Huxley’s Brave New World and Graham Greene’s Brighton Rock, has in turn influenced authors from Irvine Welsh to Suzanne Collins. Extras include a thoughtful introduction by editor Andrew Biswell, reproductions of manuscript pages annotated by Burgess, and a previously unpublished chapter of a book that was to have been called The Clockwork Condition, in which Burgess intended to set the record straight about his intentions now that Kubrick’s film adaptation had made him famous. Readers will learn much, including the meaning behind the book’s title. All in all, a fitting publication of a book that remains just as shocking and thought provoking as ever. --Keir Graff
Review
A gruesomely witty cautionary tale Time Every generation should discover this book Time Out Not only about man's violent nature and his capacity to choose between good and evil. It is about the excitements and intoxicating effects of language Daily Telegraph I do not know of any other writer who has done as much with language...a very funny book --William S. Burroughs One of the cleverest and most original writers of his generation The Times
About the Author
Anthony Burgess was born in Manchester in 1917. He studied English at Manchester University and joined the army in 1940 where he spent six years in the Education Corps. After demobilization, he worked first as a college lecturer in Speech and Drama and then as a grammar-school master before becoming an education officer in the Colonial Service, stationed in Malay and Borneo. In 1959 Burgess was diagnosed with an inoperable brain tumour and decided to become a full-time writer. Despite being given less than a year to live, Burgess went on to write at least a book a year - including A Clockwork Orange (1962), M/F (1971), Man of Nazareth (1979), Earthly Powers (1980) and The Kingdom of the Wicked (1985) - and hundreds of book reviews right up until his death. He was also a prolific composer and produced many full-scale works for orchestra and other media during his lifetime. Anthony Burgess died in 1993.
Most helpful customer reviews
4 of 4 people found the following review helpful.
This book was a joy for our group to read
By Amazon Customer
AP LIT SQUAD 2015 -- A Clockwork Orange by Anthony Burgess was an interesting book to read, to say the least. The combination of sex, violence, criminal activity, and teenage drinking makes for an entertaining novel that definitely captures the attention of the reader. Anthony Burgess effectively uses the life of Alex and his droogs, or group of friends, to portray the evil existing in our society, and a failed attempt at reforming the evil out of youth. By incorporating the government into the plot, Burgess writes a thorough, scarily realistic story concerning the evils in our world.
A major aspect of this book was Burgess’s choice to write from Alex’s perspective. Instead of a third-person viewpoint, the author puts us in the criminal’s shoes and lets the reader understand the crime, rape, and thievery from the one leading these delinquencies. This point of view gives the reader a more personal connection to Alex both when he is committing crimes as well as when he is tortured by the treatment. The author also gives us access to Alex’s motives and feelings before, during, and after his jail time and subsequent treatment.
One of the unique characteristics of this book is the constant inclusion of slang – a foreign language spoken by Alex and his gang. Since the book is written from Alex’s perspective, the reader can see how he and his posse communicate in their own semi-foreign language, symbolizing the teenagers’ disconnect from the rest of society. Words such as “droogs,” “moloko,” “horrorshow,” and “viddy” are common language in the book, as this is how Alex and his gang communicate during their criminal actions. Even after his treatment, Alex continues to use this same language, symbolizing the limits of the attempted reformation, as not all of Alex’s past identity could be eradicated.
The controversy regarding this book comes in the conclusion, in which two different versions were published. While the American publishing ended with the twentieth chapter, Burgess intended there to be a twenty-first chapter, as published in the United Kingdom. This controversial twenty-first chapter tells of how Alex is beginning to grow tired of violence, especially when he runs into his old droog Pete who is at this point a married working man. Alex begins to think of a normal life with children of his own, suggesting the possibility of an end to his criminal ways. It is no coincidence that this is Chapter 21, with 21 being an age usually associated with the coming of age and becoming an adult. This final chapter brings into question whether the reforming treatment has a remaining impact on Alex, or if he is beginning to mature, and this character development was inevitable with or without the treatment.
Overall, Anthony Burgess crafted an entertaining, thought-provoking novel in A Clockwork Orange. This book was a joy for our group to read, and its literary merit provides an underlying meaning to the engaging storyline.
2 of 2 people found the following review helpful.
Tough Read because too many "Made up" Words
By Ashley
Was very difficult to navigate through the book since all of the language was created specifically for "Clockwork Orange"....It is literally every other sentence which caused the reading to be very aggravating because I was constantly having to look up (In the Clockwork Orange Dictionary) the meanings...With the "made up" words and British context, It made it very hard to visualize what was actually going on in the book since the author used a different word for face, arms, mouth, boobs, and most everything else. I've heard great things, but was deeply disappointing.
1 of 1 people found the following review helpful.
My Droogie Lies Over The Ocean
By Barbara Moore
As I started reading this book, I felt as if I had made a wrong turn and had found myself in an ethnic neighborhood with which I had no familiarity. I was thinking that perhaps James Joyce had written a sequel to Ullysses under a pseudonym that had come back to haunt me. But as time and words went by I found that I was understanding a language that I had never seen before. I found myself enraged at the the heinous crimes committed by Alex and his droogies, but I also found that I was anxious to find where this would all lead. As I finished A Clockwork Orange, I felt very conflicted by what I had just read. If the book had been written using the King 's English, it certainly would not have been a candidate for the Book of the Month Club. However, as I read the last page, I felt as if I had stopped to eat at an ethic restaurant in this ethnic neighborhood where I ordered my meal from a menu written completely in this bizarre language, but I knew precisely what I wanted to eat.
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