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Anthony Burgess: A Clockwork Orange (UK Version)

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Anthony Burgess A Clockwork Orange (UK Version)

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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Oh dear dear land, I fought for thee

And brought thee peace and victory -

So we cracked into him lovely, grinning all over our litsos, but he still went on singing. Then we tripped him so he laid down flat and heavy and a bucketload of beer-vomit came whooshing out. That was disgusting so we gave him the boot, one go each, and then it was blood, not song nor vomit, that came out of his filthy old rot. Then we went on our way. It was round by the Municipal Power Plant that we came across Billyboy and his five droogs. Now in those days, my brothers, the teaming up was mostly by fours or fives, these being like auto-teams, four being a comfy number for an auto, and six being the outside limit for gang-size. Sometimes gangs would gang up so as to make like malenky armies for big night-war, but mostly it was best to roam in these like small numbers. Billyboy was something that made me want to sick just to viddy his fat grinning litso, and he always had this von of very stale oil that's been used for frying over and over, even when he was dressed in his best platties, like now. They viddied us just as we viddied them, and there was like a very quit kind of watching each other now. This would be real, this would be proper, this would be the nozh, the oozy, the britva, not just fisties and boots. Billyboy and his droogs stopped what they were doing, which was just getting ready to perform something on a weepy young devotchka they had there, not more than ten, she creeching away but with her platties still on. Billyboy holding her by one rooker and his number-one, Leo, holding the other. They'd probably just been doing the dirty slovo part of the act before getting down to a malenky bit of ultra-violence. When they viddied us a-coming they let go of this boo-hooing little ptitsa, there being plenty more where she came from, and she ran with her thin white legs flashing through the dark, still going "Oh oh oh". I said, smiling very wide and droogie: "Well, if it isn't fat stinking billygoat Billyboy in poison. How art thou, thou globby bottle of cheap stinking chip-oil? Come and get one in the yarbles, if you have any yarbles, you eunuch jelly, thou." And then we started.

There were four of us to six of them, like I have already indicated, but poor old Dim, for all his dimness, was worth three of the others in sheer madness and dirty fighting. Dim had a real horrorshow length of oozy or chain round his waist, twice wound round, and he unwound this and began to swing it beautiful in the eyes or glazzies. Pete and Georgie had good sharp nozhes, but I for my own part had a fine starry horrorshow cut-throat britva which, at that time, I could flash and shine artistic. So there we were dratsing away in the dark, the old Luna with men on it just coming up, the stars stabbing away as it might be knives anxious to join in the dratsing. With my britva I managed to slit right down the front of one of Billyboy's droog's platties, very very neat and not even

touching the plott under the cloth. Then in the dratsing this droog of Billyboy's suddenly found himself all opened up like a peapod, with his belly bare and his poor old yarbles showing, and then he got very razdraz, waving and screaming and losing his guard and letting in old Dim with his chain snaking whisssssshhhhhhhhh, so that old Dim chained him right in the glazzies, and this droog of Billyboy's went tottering off and howling his heart out. We were doing very hor-rorshow, and soon we had Billyboy's number-one down underfoot, blinded with old Dim's chain and crawling and howling about like an animal, but with one fair boot on the gulliver he was out and out and out.

Of the four of us Dim, as usual, came out the worst in point of looks, that is to say his litso was all bloodied and his platties a dirty mess, but the others of us were still cool and whole. It was stinking fatty Billyboy I wanted now, and there I was dancing about with my britva like I might be a barber on board a ship on a very rough sea, trying to get in at him with a few fair slashes on his unclean oily litso. Billyboy had a nozh, a long flick-type, but he was a malenky bit too slow and heavy in his movements to vred anyone really bad. And, my brothers, it was real satisfaction to me to waltz – left two three, right two three – and carve left cheeky and right cheeky, so that like two curtains of blood seemed to pour out at the same time, one on either side of his fat filthy oily snout in the winter starlight. Down this blood poured in like red curtains, but you could viddy Billyboy felt not a thing, and he went lumbering on like a filthy fatty bear, poking at me with his nozh.

Then we slooshied the sirens and knew the millicents were coming with pooshkas pushing out of the police-auto-windows at the ready. That weepy little devotchka had told them, no doubt, there being a box for calling the rozzes not too far behind the Muni Power Plant. "Get you soon, fear not," I called, "stinking billygoat. I'll have your yarbles off lovely." Then off they ran, slow and panting, except for Number One Leo out snoring on the ground, away north towards the river, and we went the other way. Just round the next turning was an alley, dark and empty and open at both ends, and we rested there, panting fast then slower, then breathing like normal. It was like resting between the feet of two terrific and very enormous mountains, these being the flatblocks, and in the windows of all the flats you could viddy like blue dancing light. This would be the telly. Tonight was what thy called a worldcast, meaning that the same programme was being viddied by everybody in the world that wanted to, that being mostly the middle-aged middle-class lewdies. There would be some big famous stupid comic chelloveck or black singer, and it was all being bounced off the special telly satellites in outer space, my brothers. We waited panting, and we could slooshy the sirening millicents going east, so we knew we were all right now. But poor old Dim kept looking up at the stars and planets and the Luna with his rot wide open like a kid who'd never viddied any such things before, and he said:

"What's on them, I wonder. What would be up there on things like that?"

I nudged him hard, saying: "Come, gloopy bastard as thou art. Think thou not on them. There'll be life like down here most likely, with some getting knifed and others doing the knifing. And now, with the nochy still molodoy, let us be on our way, O my brothers." The others smecked at this, but poor old Dim looked at me serious, then up again at the stars and the Luna. So we went on our way down the alley, with the worldcast blueing on on either side. What we needed now was an auto, so we turned left coming out of the alley, knowing right away we were in Priestly Place as soon as we viddied the big bronze statue of some starry poet with an apey upper lip and a pipe stuck in a droopy old rot. Going north we came to the filthy old Filmdrome, peeling and dropping to bits through nobody going there much except malchicks like me and my droogs, and then only for a yell or a razrez or a bit of in-out-in-out in the dark. We could viddy from the poster on the Filmdrome's face, a couple of fly-dirtied spots trained on it, that there was the usual cowboy riot, with the archangels on the side of the US marshal six-shooting at the rustlers out of hell's fighting legions, the kind of hound-and-horny veshch put out by Statefilm in those days. The autos parked by the sinny weren't all that horrorshow, crappy starry veshches most of them, but there was a newish Durango 95 that I thought might do. Georgie had one of these polyclefs, as they called them, on his keyring, so we were soon aboard – Dim and Pete at the back, puffing away lordly at their cancers – and I turned on the ignition and started her up and she grumbled away real horrorshow, a nice warm vibraty feeling grumbling all through your guttiwuts. Then I made with the noga, and we backed out lovely, and nobody viddied us take off. We fillied round what was called the backtown for a bit, scaring old vecks and cheenas that were crossing the roads and zigzagging after cats and that. Then we took the road west. There wasn't much traffic about, so I kept pushing the old noga through the floorboards near, and the Durango 95 ate up the road like spaghetti. Soon it was winter trees and dark, my brothers, with a country dark, and at one place I ran over something big with a snarling toothy rot in the headlamps, then it screamed and squelched under and old Dim at the back near laughed his gulliver off – "Ho ho ho" – at that. Then we saw one young malchick with his sharp, lubbilubbing under a tree, so we stopped and cheered at them, then we bashed into them both with a couple of half-hearted tol-chocks, making them cry, and on we went. What we were after now was the old surprise visit. That was a real kick and good for smecks and lashings of the ultra-violent. We came at last to a sort of village, and just outside this village was a small sort of a cottage on its own with a bit of garden. The Luna was well up now, and we could viddy this cottage fine and clear as I eased up and put the brake on, the other three giggling like bezoomny, and we could viddy the name on the gate of this cottage veshch was HOME, a gloomy sort of a name. I got out of the auto, ordering my droogs to shush their giggles and act like serious, and I opened this malenky gate and walked up to the front door. I knocked nice and gentle and nobody came, so I knocked a bit more and this time I could slooshy somebody coming, then a bolt drawn, then the door inched open an inch or so, then I could viddy this one glazz looking out at me and the door was on a chain. "Yes? Who is it?" It was a sharp's goloss, a youngish devotchka by her sound, so I said in a very refined manner of speech, a real gentleman's goloss:

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