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*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 célèbre 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introduction by editor Andrew Biswell, reproductions of manuscript pages annotated by Burgess, and a previously unpublished chapter of a book that was to have been called The Clockwork Condition, in which Burgess intended to set the record straight about his intentions now that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 --This text refers to the Hardcover edition.
A brilliant novel... a savage satire on the distortions of the single and collective minds. (New York Times)
Looks like a nasty little shocker, but is really that rare thing in English letters: a philosophical novel. (Time)
I do not know of any other writer who has done as much with language as Mr. Burgess has done here ― the fact that this is also a very funny book may pass unnoticed. (William S. Burroughs)
A terrifying and marvelous book. (Roald Dahl)
This was an amusing read. It took a little while for me to be accustomed to the language that Burgess invented for the book. Otherwise, it was an enjoyable book.Published 1 day ago by ed benz
In a world set in a corrupted government where streets are free roamed by thugs, there lies our protagonist: Alex. Read morePublished 2 days ago by Mark
The book was well written and is still very relevant for the youth of today. I recommend the book to anyone.Published 3 days ago by bill aguirre
You have to get used to the grammar, but after that it becomes very interesting!Published 6 days ago by Carrie Reilly
For a project in 12th grade I had to read this book, and let me say, this is one of the few books that not on,y hasn't put me to sleep, but kept me interested throughout, excellent... Read morePublished 16 days ago by Thomas
I first read this book shortly after seeing the wonderful Stanley Kubrick. Kubrick stole the screen rights from Burgess for a mere $100,000! Read morePublished 19 days ago by Michael Waterman