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“A brilliant novel . . . a savage satire on the distortions of the single and collective minds.” ―New York Times
“Anthony Burgess has written what looks like a nasty little shocker, but is really that rare thing in English letters: a philosophical novel.” ―Time
A terrifying tale about good and evil and the meaning of human freedom, A Clockwork Orange became an instant classic when it was published in 1962 and has remained so ever since. Anthony Burgess takes us on a journey to a nightmarish future where sociopathic criminals rule the night. Brilliantly told in harsh invented slang by the novel’s main character and merciless droog, fifteen-year-old Alex, this influential novel is now available in a student edition.
The Norton Critical Edition of A Clockwork Orange is based on the first British edition and includes Burgess’s original final chapter. It is accompanied by Mark Rawlinson’s preface, explanatory annotations, and textual notes. A glossary of the Russian-origin terms that inspired Alex’s dialect is provided to illustrate the process by which Burgess arrived at the distinctive style of this novel.
“Backgrounds and Contexts” presents a wealth of materials chosen by the editor to enrich the reader’s understanding of this unforgettable work, many of them by Burgess himself. Burgess’s views on writing A Clockwork Orange, its philosophical issues, and the debates over the British edition versus the American edition and the novel versus the film adaptation are all included. Related writings that speak to some of the novel’s central issues―youthful style, behavior modification, and art versus morality―are provided by Paul Rock and Stanley Cohen, B. F. Skinner, John R. Platt, Joost A. M. Meerloo, William Sargent, and George Steiner.
“Criticism” is divided into two sections, one addressing the novel and the other Stanley Kubrick’s film version. Five major reviews of the novel are reprinted along with a wide range of scholarly commentary, including, among others, David Lodge on the American reader; Julie Carson on linguistic invention; Zinovy Zinik on Burgess and the Russian language; Geoffrey Sharpless on education, masculinity, and violence; Shirley Chew on circularity; Patrick Parrinder on dystopias; Robbie B. H. Goh on language and social control; and Steven M. Cahn on freedom. A thorough analysis of the film adaptation of A Clockwork Orange is provided in reviews by Vincent Canby, Pauline Kael, and Christopher Ricks; in Philip Strick and Penelope Houston’s interview with Stanley Kubrick; and in interpretive essays by Don Daniels, Alexander Walker, Philip French, Thomas Elsaesser, Tom Dewe Mathews, and Julian Petley.
A Selected Bibliography is also included.
- Sales Rank: #198044 in Books
- Brand: W. W. Norton & Company
- Published on: 2011-01-04
- Original language: English
- Number of items: 1
- Dimensions: 8.40" h x .80" w x 5.20" l, .77 pounds
- Binding: Paperback
- 368 pages
About the Author
Anthony Burgess (1917–1993) is the author of many works, including A Clockwork Orange, The Wanting Seed, Nothing Like the Sun, Honey for the Bears, The Long Day Wanes, The Doctor Is Sick, and ReJoyce.
Mark Rawlinson is Senior Lecturer at the University of Leicester. His books include British Writing of the Second World War, Pat Barker, The Second World War in British Fiction Since 1945, and Camouflage: Modern War and Visual Culture.
Most helpful customer reviews
14 of 16 people found the following review helpful.
Puts a smile on your litso
By Anthony Peters
Well oh my little brothers, patient and tolerant though I may be, I just couldn't help but have a malenky smeck at some of the grazhny customer reviews by the like indignant vecks and ptitsas here. Like the starry ptitsa who creeches about the like excessive ultraviolence, saying this is not her idea of "entertainment". Personally droogies, I find Burgess's ingenious creation of a whole new vernacular language and youth subculture to be hilariously horrorshow entertaining. The more specific point the naysayers miss is that Burgess is using the violence merely as a vehicle to pose some deep moral questions about the nature of morality and the seeming impossibility of expunging violence from the human soul. A lot of reviewers are also falling into the trap of thinking that Burgess intended merely to shock or to sensationalise, which couldn't be further from the truth. His tongue is very firmly in cheek. Persevere through the first chapter or so and the nadsat becomes strangely "right", somehow enhancing the realness of the world Burgess creates. 4 stars rather than five only because of a redemption story in the final chapter which doesn't quite fit. Nevertheless, this remains a courageous and darkly comedic philosophical masterpiece which will reward those willing to push through the intimidating language.
19 of 24 people found the following review helpful.
Kindle version cheats you
By A. A. Stewart
Just so you know, the Kindle version of the Norton edition is just the novel and Burgess' intro. It doesn't contain the supplementary materials that make a Norton edition valuable to have.
1 of 1 people found the following review helpful.
When I started reading the novel for the first time it seemed boring and the language was also very difficult
By Henil
A clockwork orange by Anthony Burges was first written in 1962 is a completely different type of novel that one would expect to read at the first place. When I started reading the novel for the first time it seemed boring and the language was also very difficult. The author uses a lot of slang words. The main character of the novel is a 14 year old named Alex when the novel starts. The novel is very violent. The author has used a very challenging vocabulary other than the standard language. I really liked some of the words like milicents droogs and devochkas are used to describe the police, brothers and girls I mean that seemed cool. Initially when I read the book it seemed to be very disturbing and boring, Alex seems like a complete psychopath at the beginning but then he kind of changes This is a classic book it may seem very boring at times and you might not want to read it but as the novel goes the story becomes more and more intriguing.. I started liking this book when I read the fourth of it. It was easy to understand after a while even a glossary of the words is given at the back to get familiar with the terms used by the writer. I read it thoroughly with attention so I could understand even the more minute details about the story. You might want to read it more than once also. Like there is part in the book where Alex jumps from an apartment window. Before jumping off he says, “I shut my glazzies and fell the cold winds on my litso, then I jumped. “ After this line he tells that, “I jumped, O my brothers, and fell on the sidewalk hard, but I did not snuff it, oh no if I had snuffed it I would not be here to write what I have written.” This is first time I got to know that Alex is actually writing the story otherwise it’s like he is just telling his story. There is also a lot of code switching in the novel as well. . I liked the 21 chapter idea of Anthony Burges. His book had 21 chapters as like a man gets mature when he is 21. Book was very thoughtfully the book ends differently as there are only 20 chapters in the US version of the book. I wish the US version had 21 full chapters as originally written by Anthony Burges.
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