Oh, it was gorgeousness and gorgeosity made flesh. The trombones crunched redgold under my bed, and behind my gulliver the trumpets three-wise silverflamed, and there by the door the timps rolling through my guts and out again crunched like candy thunder. Oh, it was wonder of wonders. And then, a bird of like rarest spun heavenmetal, or like silvery wine flowing in a spaceship, gravity all nonsense now, came the violin solo above all the other strings, and those strings were like a cage of silk round my bed. Then flute and oboe bored, like worms of like platinum, into the thick thick toffee gold and silver. I was in such bliss, my brothers.
A CLOCKWORK ORANGE (1962), Anthony Burgess’s most famous work, suffered from notoriety and controversy when Stanley Kubrick’s film adaptation (1971) shocked its audience as it seemed to have glorified violence. The film received critical acclaim and gained cult following. A Clockwork Orange was then linked to increasing crime rates and was banned. This “misunderstanding” caused by the film made Burgess disown the book, with him saying that he should have not written it because of the dangers of misinterpretation. Though chosen by TIME magazine as one of the 100 best English-language novels, Burgess dismissed A Clockwork Orange as a minor work undeserving of its fame, which all the while overshadowed his other major works.
Inspired by the juvenile delinquency of the early 1960s, Aldous Huxley’s Brave New World, and with the rise of the sci-fi genre, the prolific British author Anthony Burgess wrote A Clockwork Orange, a short, transgressive dystopian satire. It was narrated in “Nadsat” language—an imaginary teenage slang invented by Burgess from his studies of Russian—by the Beethoven-loving young thug Alex. Along with his three “droogs”—that is, Pete, Georgie, Dim—the fifteen-year-old Alex leads a life of violence—stealing, beating people, raping, and committing murder with gleeful countenance—until he gets arrested and sentenced fourteen years in prison.
Two years later, still desperate to get out and blind to the repercussions, he was selected to be a test subject for the “Ludovico’s technique,” a Pavlovian conditioning treatment for criminals, and was promised to be released from prison in a fortnight. Afterward, Alex is conditioned to feel sick, paralyzed, and dying whenever he thinks of anything evil. The novel continues with Alex being freed but now deprived of free will.
(In the US edition, the last chapter, which the editors thought unnecessary, is omitted against Burgess’s will.)
Through extreme violence and depravity, Burgess probes the ancient and imperishable philosophical problems of free will, moral choice, and the grinding entities of good and evil in the battleground of man’s heart: “Does God want goodness or the choice of goodness?”
Both a linguist and a musical composer, Burgess has flawlessly orchestrated the linguistic feats in A Clockwork Orange, a reminiscent of what James Joyce did on Ulysses and Finnegans Wake. With his unorthodox mastery of language, Burgess has innovated literature and was called as one of the few and inimitable literary geniuses of all time.
(Published on Sunstar Cebu ’ZUP Page Book Nook: November 15, 2015)