Anthony Burgess - A Clockwork Orange (UK Version)

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A Clockwork Orange (UK Version): краткое содержание, описание и аннотация

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In Anthony Burgess’s A Clockwork Orange, Burgess creates a gloomy future full of violence, rape and destruction. In this dystopian novel, Burgess does a fantastic job of constantly changing the readers’ allegiance toward the books narrator and main character, Alex. Writing in a foreign language, Burgess makes the reader feel like an outsider. As the novel begins, the reader has no emotional connection to Alex. This non-emotional state comes to a sudden halt when Alex and his droogs begin a series of merciless acts of violence. The reader rapidly begins to form what seems to be an irreversible hatred toward the books narrator. However, as time progresses, Burgess cleverly changes the tone of his novel. Once wishing only the harshest punishments be bestowed upon him, it is these same punishments that begin to change how the reader feels. In fact, by the end of the book, one almost begins to have pity for Alex. The same character that was once hated soon emerges as one of many victims taken throughout the course of the book. Throughout Alex’s narration, Burgess manages to change the readers’ allegiance toward a once seemingly evil character.
Alex is the type of character one loves to hate; he makes it all too easy to dislike him. He is a brutal, violent, teenage criminal with no place in society. His one and only role is to create chaos, which he does too well. Alex’s violent nature is first witnessed during the first chapter, and is soon seen again when Alex and his gang chose to brutally beat an innocent drunkard. This beating off the homeless man serves no purpose other then to amuse Alex’s gang. The acts committed were not performed for revenge, the one reason given was that Alex did not enjoy seeing a homeless drunk, “I could never stand to see a moodge all filthy and rolling and burping and drunk, whatever his age might be, but more especially when he was real starry like this one was”. Alex continues to explain his reason for dislike, “his platties were a disgrace, all creased and untidy and covered in cal”, from this explanation one realizes his reasons for nearly killing a man are simply based on pleasure, desire, and a dislike toward the untidy. By the end of the second chapter Burgess’s inventive usage of a different language to keep the reader alienated from forming opinions about Alex ceases to work. At this point in time Alex’s true nature is revealed, and not even his unfamiliar Nadsat language can save him from being strongly disliked by the reader.
The more the reader learns of Alex, the more and more he is disliked; Alex’s relationship with his parents only builds on ones already negative opinions toward Alex. Coming from a normal family and a sturdy household free of domestic violence, there is no excuse for Alex’s violent nature. In fact, Alex’s loving parents are just as baffled by his immoral personality as the reader, although because of their naivete, they know much less of what he does. This leaves the reader uninformed and wondering: why is Alex the way he is? Fortunately, just as one begins to question Alex’s motives, Alex gives an answer, “badness is of the self, the one…is not our modern history, my brothers the story of brave malenky selves fighting these big machines? I am serious with you, brothers, over this. But what I do I do because I like to do”. He could not have explained it more clearly. While from one point of view Alex visions himself as a revolutionary, even simpler then that, he is basically admitting he commits violent acts because he enjoys doing so. Later in the book Alex offers another solution for his violent nature, “Being young is like being one of these malenky machines…and so it would itty on to like the end of the world”. These malenky machines he is referring to are very similar to the clockwork orange Burgess talks to in his introduction. Whatever reasons he gives, none of them are valid enough to prevent the reader from hating Alex.
In spite of all the hatred aimed toward Alex at this point, seemingly it is not enough to prevent the pity one begins to feel when Alex is abandoned by his “droogs”. Knowing he is the leader of his group, Alex constantly gives orders to his gang. Unfortunately it is due to his tendency to need leadership that a quarrel begins with his gang. After settling the original dispute that arises, Alex and his “droogs” are not so successful at ending their second squabble. Framed by his friends, Alex is arrested while they run away. Furthermore, he is beaten by the police, and sentenced to fourteen years of jail. It only takes two of them for the reader to realize the difficulties that Alex is living through. Throughout the first part of the book, there is in fact only one sign that Alex is not utterly evil, that being his music. Along with his abandonment from friends, it is the music that Burgess uses to help change the readers opinion, and eventually to have pity toward his young antagonist.
As the reader continues to pry deeper into Alex’s life it is shocking to learn of the music he listens to, it is because of this music and the actions taken against him that one truly begins to feel sorry for Burgess’s little Alex. The music that Alex chooses to listen is very ironic. While it causes him to do evil things, the fact remains that he listens to normal music, one of the first things he is not disliked for, “lying there on my bed with glazzies tight shut and rookers behind my gulliver, I broke and spattered and cried aaaaaaah with the bliss of it". His particular interest in Ludwig Van arises during one of his sessions while undergoing Ludivico’s Technique. Upon hearing what he perceives to be heavenly music Alex cry’s out about the injustice in the procedure, “I don’t mind about the ultra-violence and all that cal. I can put up with that. But it’s not fair on the music”. It is during this same treatment that the reader really begins to feel sympathy toward him. Striped of his ability to choose right from wrong, and now the same clockwork orange that F. Alexander earlier told him about, Alex becomes one of the governments’ machines. Forced to do exactly what they want him to, become their “true Christian”, Alex poses the question to his doctors, “How about me? Where do I come into all this? Am I like just some animal or dog…am I to be just like a clockwork orange?” Alex is all alone in the world, no longer capable of performing cruel deeds, he is denied by all whom he once knew. The same character one used to wish the harshest punishment upon received it, and when he got it, it becomes strikingly evident that it was much more then even the worst person would ever deserve.
Burgess does a magical job at making the reader quickly forget the horrible deeds Alex once committed. Instead by making powerful moral statements, Burgess goes so far that the reader not only turns the other cheek toward Alex’s crimes, but also feels genuinely sorry for him. Alex may not be completely cured, but that is not the issue at hand. Through means of pity and by playing with the readers’ emotions throughout the book, during A Clockwork Orange, Burgess is constantly playing with the reader’s allegiances.

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"Now," said the prison charlie, "listen to the Word of the Lord." Then he picked up the big book and flipped over the pages, keeping on wetting his fingers to do this by licking them splurge splurge. He was a bolshy great burly bastard with a very red litso, but he was very fond of myself, me being young and also now very interested in the big book. It had been arranged as part of my like further education to read in the book and even have music on the chapel stereo while I was reading, O my brothers. And that was real horrorshow. They would like lock me in and let me slooshy holy music by J. S. Bach and G. F. Handel, and I would read of these starry yahoodies tolchocking each other and then peeting their Hebrew vino and getting on to the bed with their wives' like hand-maidens, real horrorshow. That kept me going, brothers. I didn't so much kopat the later part of the book, which is more like all preachy govoreeting than fighting and the old in-out. But one day the charles said to me, squeezing me like tight with his bolshy beefy rooker: "Ah, 6655321, think on the divine suffering. Meditate on that, my boy." And all the time he had this rich manny von of Scotch on him, and then he went off to his little cantora to peet some more. So I read all about the scourging and the crowning with thorns and then the cross veshch and all that cal, and I viddied better that there was something in it. While the stereo played bits of lovely Bach I closed my glazzies and viddied myself helping in and even taking charge of the tolchocking and the nailing in, being dressed in a like toga that was the heighth of Roman fashion. So being in Staja 84F was not all that wasted, and the Governor himself was very pleased to hear that I had taken to like Religion, and that was where I had my hopes. This Sunday morning the charlie read out from the book about chellovecks who slooshied the slovo and didn't take a blind bit being like a domy built upon sand, and then the rain came splash and the old boomaboom cracked the sky and that was the end of that domy. But I thought that only a very dim veck would have built his domy upon sand, and a right lot of real sneering droogs and nasty neighbours a veck like that would have, them not telling him how dim he was doing that sort of building. Then the charles creeched: "Right, you lot. We'll end with Hymn Number 435 in the Prisoners' Hymnal."

Then there was a crash and plop and a whish whish while the plennies picked up and dropped and lickturned the pages of their grazzy malenky hymnbooks, and the bully fierce warders creeched: "Stop talking there, bastards. I'm watching you, 920537." Of course I had the disc ready on the stereo, and then I let the simple music for organ only come belting out with a growwwwowwwwowwww. Then the plennies started to sing real horrible:

Weak tea are we, new brewed But stirring make all strong. We eat no angel's food, Our times of trial are long.

They sort of howled and wept these stupid slovos with the charlie like whipping them on with "Louder, damn you, sing up," and the warders creeching: "Just you wait, 7749222", and "One on the turnip coming up for you, filth." Then it was all over and the charlie said: "May the Holy Trinity keep you always and make you good, amen," and the shamble out began to a nice choice bit of Symphony No. 2 by Adrian Schweigsel-ber, chosen by your Humble Narrator, O my brothers. What a lot they were, I thought, as I stood there by the starry chapel stereo, viddying them all shuffle out going marrrrre and baaaaaa like animals and up-your-piping with their grahzny fingers at me, because it looked like I was very special favoured. When the last one had slouched out, his rookers hanging like an ape and the one warder left giving him a fair loud tolchock on the back of the gulliver, and when I had turned off the stereo, the charlie came up to me, puffing away at a cancer, still in his starry bogman's platties, all lacy and white like a devotchka's. He said:

"Thank you as always, little 6655321. And what news have you got for me today?" The idea was, I knew, that this charlie was after becoming a very great holy chelloveck in the world of Prison Religion, and he wanted a real horrorshow testimonial from the Governor, so he would go and govoreet quietly to the Governor now and then about what dark plots were brewing among the plennies, and he would get a lot of this cal from me. A lot of it would be all like made up, but some of it would be true, like for instance the time it had come through to our cell on the waterpipes knock knock knockiknockiknock knockiknock that big Harriman was going to break. He was going to tolchock the warder at slop-time and get out in the warder's platties. Then there was going to be a big throwing about of the horrible pishcha we got in the dining-hall, and I knew about that and told. Then the charlie passed it on and was complimented like by the Governor for his Public Spirit and Keen Ear. So this time I said, and this was not true: "Well, sir, it has come through on the pipes that a consignment of cocaine has arrived by irregular means and that a cell somewhere along Tier 5 is to be the centre of distribution." I made all that up as I went along, like I made up so many of these stories, but the prison charlie was very grateful, saying: "Good, good, good. I shall pass that on to Himself," this being what he called the Governor. Then I said:

"Sir, I have done my best, have I not?" I always used my very polite gentleman's goloss govoreeting with those at the top. "I've tried, sir, haven't I?"

"I think," said the charlie, "that on the whole you have, 6655321. You've been very helpful and, I consider, shown a genuine desire to reform. You will, if you continue in this manner, earn your remission with no trouble at all."

"But sir," I said, "how about this new thing they're talking about? How about this new like treatment that gets you out of prison in no time at all and makes sure that you never get back in again?"

"Oh," he said, very like wary. "Where did you hear this? Who's been telling you these things?"

"These things get around, sir," I said. "Two warders talk, as it might be, and somebody can't help hearing what they say. And then somebody picks up a scrap of newspaper in the workshops and the newspaper says all about it. How about you putting me in for this thing, sir, if I may make so bold as to make the suggestion?"

You could viddy him thinking about that while he puffed away at his cancer, wondering how much to say to me about what he knew about this veshch I'd mentioned. Then he said: "I take it you're referring to Ludovico's Technique." He was still very wary.

"I don't know what it's called, sir," I said. "All I know is that it gets you out quickly and makes sure that you don't get in again."

"That is so," he said, his eyebrows like all beetling while he looked down at me. "That is quite so, 6655321. Of course, it's only in the experimental stage at the moment. It's very simple but very drastic."

"But it's being used here, isn't it, sir?" I said. "Those new like white buildings by the South wall, sir. We've watched those being built, sir, when we've been doing our exercise."

"It's not been used yet," he said, "not in this prison, 6655321. Himself has grave doubts about it. I must confess I share those doubts. The question is whether such a technique can really make a man good. Goodness comes from within, 6655321. Goodness is something chosen. When a man cannot choose he ceases to be a man." He would have gone on with a lot more of this cal, but we could slooshy the next lot of plennies marching clank clank down the iron stairs to come for their bit of Religion. He said: "We'll have a little chat about this some other time. Now you'd better start the voluntary." So I went over to the starry stereo and put on J. S. Bach's 'Wachet Auf' Choral Prelude and in these grahzny vonny bastard criminals and perverts came shambling like a lot of broke-down apes, the warders or chassos like barking at them and lashing them. And soon the prison charlie was asking them: "What's it going to be then, eh?" And that's where you came in.

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