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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introduction by editor Andrew Biswell, reproductions of manuscript pages annotated by Burgess, and a previously unpublished chapter of a book that was to have been called The Clockwork Condition, in which Burgess intended to set the record straight about his intentions now that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)
Fantastic book. Saw the movie long ago but never read the book until now. I really like the writing style and the made-up language that the protagonist uses. Read morePublished 20 hours ago by John D Wood
Simply one of the best explorations of villainy and evil out there. Burgess allows the reader to draw their own conclusions as to the causes and significance of evil.Published 7 days ago by Amazon Customer
This book is a strange, intriguing book, although this is about violence, it is also about the good and evil. Read morePublished 8 days ago by dypaulette
I found ACO to be a bit too artsy for my tastes. Burgess creates this dystopic, violent society without giving any indication about how it got to be like that. Read morePublished 10 days ago by John B.
I liked this book of which I read the Kindle version. I seldomly read fiction, however, this and some others that I'll eventually review were on a list of 100 essential books for... Read morePublished 11 days ago by Brian West