A Clockwork Orange | Anthony Burgess | Cliff Note Books
“A Clockwork Orange” is a dystopian novel by Anthony Burgess, published in 1962. The book is divided into three parts, each containing seven chapters.
The novel is set in a futuristic society and is narrated by Alex, a teenage delinquent with a penchant for “ultra-violence” and classical music, especially Beethoven. He leads a small gang of thugs (Peter, Georgie, and Dim), referred to as “droogs” in the novel’s unique slang language called Nadsat, a mix of modified Slavic words, rhyming slang, and colloquial English.
Part one introduces Alex and his droogs committing acts of violence and theft. Their actions culminate when they break into a writer’s home, brutalize him and his wife, and vandalize his manuscript titled “A Clockwork Orange”. After this event, tension grows within the gang, and Alex’s leadership is challenged.
In the second part, Alex’s droogs betray him during a robbery, leaving him to be captured by the police. To reduce his sentence, Alex agrees to undergo an experimental psychological treatment known as the Ludovico Technique, which conditions him to become physically ill at the thought of violence. The treatment works, but it also renders him incapable of listening to his beloved classical music, as it was often used as a backdrop during the violent films shown to him during the treatment. The state touts Alex as a success of their new reform techniques.
Part three sees a “reformed” Alex released back into society. However, he is now defenseless and falls victim to his former victims, who don’t hesitate to seek revenge. The writer whose manuscript Alex once destroyed discovers that Alex has been conditioned by the Ludovico Technique. The writer helps Alex in an attempt to discredit the government. In a twist of irony, the writer subjects Alex to a form of conditioning that makes him suicidal.
The government, in damage-control mode, ‘deconditions’ Alex to his original state, where he is once again free to indulge in his violent tendencies. However, in the final chapter (which was omitted in some editions and in the film), Alex begins to lose his taste for violence naturally as he matures and dreams of starting a family.
“A Clockwork Orange” is a novel rich with themes of morality, free will, and the limits and responsibilities of a governing body. Its portrayal of violence and experimental language made it a controversial yet influential piece in literature.
QUOTES FROM A CLOCKWORK ORANGE
“Is it better for a man to have chosen evil than to have good imposed upon him?”
“When a man cannot choose, he ceases to be a man.”
“We can destroy what we have written, but we cannot unwrite it.”
“If he can only perform good or only perform evil, then he is a clockwork orange—meaning that he has the appearance of an organism lovely with colour and juice but is in fact only a clockwork toy to be wound up by God or the Devil.”
“It’s funny how the colours of the real world only seem really real when you watch them on a screen.”
“The important thing is moral choice. Evil has to exist along with good, in order that moral choice may operate. Life is sustained by the grinding opposition of moral entities.”
AUTHOR OF A CLOCKWORK ORANGE
Anthony Burgess, whose real name was John Anthony Burgess Wilson, was born on February 25, 1917, in Manchester, England. His mother and sister died when he was just a baby during the influenza epidemic of 1918. Burgess was raised by his aunt and later by his father and stepmother.
Burgess studied at the University of Manchester, graduating with a degree in English Literature. He then became a teacher and later joined the British Army during World War II, serving as a nurse and then an education officer.
In the late 1940s and throughout the 1950s, Burgess worked in the British Colonial Service as a teacher and education officer in Malaya and Borneo, which influenced his later writing. He published his first novels, “Time for a Tiger”, “The Enemy in the Blanket”, and “Beds in the East”, a trilogy about colonialism and the decline of the British Empire, collectively titled “The Malayan Trilogy” in 1956-1959.
In 1960, Burgess collapsed and was incorrectly diagnosed with an inoperable brain tumor, which led him to write fervently. He was told he had only a year to live, a period in which he produced several works.
Burgess is most famous for “A Clockwork Orange” (1962), a dystopian novel about juvenile delinquency and the repercussions of state control. The book is notorious for its violent themes, innovative language (Nadsat, a Russo-English slang invented by Burgess), and for its exploration of free will and morality.
In addition to novels, Burgess also wrote criticism, screenplays, and composed hundreds of musical works. Despite his prolific output, “A Clockwork Orange” remains his best-known work, partly due to Stanley Kubrick’s 1971 film adaptation.
In his later years, Burgess lived in Monaco, where he wrote several more novels, including “Earthly Powers”, which was nominated for the Booker Prize. He continued writing up until his death in 1993 from lung cancer. Burgess’s work is appreciated for its inventiveness, wit, and exploration of the human condition.
THEMES IN A CLOCKWORK ORANGE
Free Will: The novel examines the nature of free will and its importance to human nature. It questions whether a person can truly be good or evil if they lack the ability to choose between the two. This is brought into focus through the state’s imposition of the Ludovico Technique on Alex, robbing him of his ability to choose.
The Nature of Good and Evil: Burgess doesn’t shy away from presenting the violent, dark aspects of humanity. He challenges the reader to consider whether goodness is meaningful if it’s not chosen. Can one be truly good if they are incapable of being evil? This theme is embodied in Alex, who begins as a person capable of extreme violence and is turned into a model citizen against his will.
State Control: The novel presents a dystopian vision of government control where citizens are manipulated and their freedoms are curtailed. The government uses the Ludovico Technique as a tool for social control, forcing its subjects to conform to a specific idea of “goodness” rather than allowing them moral autonomy.
Youth vs. Maturity: The narrative explores the idea of maturity and growth. Alex, initially a reckless youth, goes through various experiences that gradually lead him to yearn for a more peaceful life, signaling his path towards maturity.
Language and Society: Burgess uses language as a significant element in the book. The Nadsat language used by Alex and his gang underscores their separateness from mainstream society and is a form of rebellion. It also highlights how language can be used both to include and exclude, and to shape perceptions of reality.
Violence and Desensitization: The novel explores society’s desensitization to violence. Alex’s casual narration of his violent acts underscores this theme, suggesting a societal problem that goes beyond individual actions.
Conditioning and Psychology: Burgess explores the concept of behavioral conditioning and its ethical implications. He questions if it’s moral to alter someone’s behavior without their consent, even if the result might be considered societally beneficial.
DISCUSSION WHEN STUDYING A CLOCKWORK ORANGE
Language and Communication: Discuss the use of Nadsat in the novel. How does the use of a distinctive language impact the reader’s engagement with the narrative? What might Burgess be suggesting about language, power, and identity?
Nature of Evil: Discuss the nature of evil as depicted in the novel. Is Alex inherently evil or is he a product of his environment? What does the novel suggest about the nature of violence?
Free Will vs. Determinism: Analyze the theme of free will vs. determinism in the novel. Is Alex a product of his choices or his circumstances? Is the state justified in taking away Alex’s ability to choose?
Role of Government: Discuss the portrayal of government in the novel. Is the government depicted as benevolent, malicious, or something in between? What is the novel suggesting about the role of government in shaping individual behavior?
Rehabilitation and Punishment: Discuss the novel’s portrayal of crime and punishment. Does the Ludovico Technique represent a justifiable method of punishment and rehabilitation? How does the novel explore the ethics of using psychological conditioning as a form of social control?
Music and Art: Examine the role of music in the novel. How does Alex’s love for Beethoven’s music contrast with his violent behavior? What might this contrast suggest about the relationship between art and morality?
Maturity and Growth: Discuss Alex’s development throughout the novel. Does he truly mature by the end of the story, or is he simply reverting to his old habits? What does his final change of heart imply about human nature and the potential for personal growth and change?
Dystopian Society: Consider the societal critique in the novel. What aspects of society is Burgess critiquing, and how does this contribute to the overall dystopian atmosphere?
Comparisons with Film: If you have seen the film adaptation, discuss how it compares with the novel. How does each medium present the story and its themes? Are there differences in interpretation, and if so, why might these exist?
CONTROVERSY AROUND A CLOCKWORK ORANGE
Graphic Violence and Sexual Content: The book is filled with graphic depictions of violence and sexual assault. Many found these scenes to be gratuitous and exploitative. Burgess argued that the violent imagery was necessary to the book’s moral exploration, but the extreme nature of these scenes led to widespread criticism and the book being banned in several schools and libraries.
Glorification of Youth Delinquency: Critics have argued that the novel glamorizes violent youth culture. Alex, the protagonist, is a charismatic figure despite his moral failings, leading to concerns that readers, especially young ones, might find his violent lifestyle appealing or admirable.
The Nadsat Language: Some critics felt that the use of Nadsat, the book’s unique language, served to buffer readers from the full impact of the violence portrayed, thus further normalizing or downplaying it. Others found the language barrier to be overly challenging or distracting.
Differing Editions: The novel’s final chapter, in which Alex begins to consider giving up his life of violence, was omitted from American editions until 1986. This changed the tone of the ending significantly, from one of potential redemption to one of continuing recidivism. Some readers felt that the original ending provided necessary balance to the earlier violence, while others preferred the darker ending.
Impact of the Film Adaptation: The controversy was intensified by Stanley Kubrick’s 1971 film adaptation, which drew heavily from the more nihilistic American edition and featured visually arresting scenes of violence. The film was blamed for copycat crimes in the UK, leading Kubrick to withdraw it from distribution in the country.
SUMMARY OF A CLOCKWORK ORANGE
PART ONE
Chapter 1: The novel opens in the Korova Milkbar, where Alex and his “droogs” (friends) – Dim, Pete, and Georgie – are planning their nightly criminal activities. They start by attacking an old man carrying library books.
Chapter 2: The gang proceeds to steal a car and drive to the countryside, where they terrorize a couple living in a cottage (The Manse). They physically assault the man and sexually assault his wife.
Chapter 3: The gang returns to the city and gets into a brutal fight with a rival gang led by Billyboy. The fight is interrupted by the arrival of the police, and Alex’s gang escapes.
Chapter 4: Alex returns home to the municipal flat where he lives with his parents. He listens to classical music, particularly Beethoven, which stirs violent fantasies in his mind.
Chapter 5: The next day, Alex plays truant from school. He visits a record shop, picks up two young girls, and takes them home, where he sexually assaults them.
Chapter 6: In the evening, Alex’s droogs challenge his leadership, demanding a larger share of the loot and suggesting more strategic crimes. Although upset, Alex agrees to a profitable burglary they propose.
Chapter 7: The gang breaks into the home of a wealthy woman living alone with her cats. When she tries to call the police, Alex attacks her with a statue, but he is then hit on the head by Dim. As the gang leaves, they hear police sirens approaching, and Alex is left behind, unconscious.
This first part of the novel paints a grim picture of Alex’s life and actions and sets up the tension within his gang that ultimately leads to Alex’s capture by the police. It’s also in this section that readers are introduced to the novel’s unique language, Nadsat.
PART TWO
Chapter 1: Alex is sentenced to fourteen years in prison for murder (the woman he attacked in Part One, Chapter 7 died from her injuries). In prison, Alex is known as “6655321” and becomes interested in the Bible because of the violent stories it contains.
Chapter 2: After two years, Alex has risen to become an assistant to the prison chaplain. He has also gained an interest in classical music. Alex volunteers for the experimental Ludovico Treatment when he hears it might allow him to leave prison early.
Chapter 3: Alex is transferred to a medical institution where he is conditioned through the Ludovico Technique. He is injected with a drug that induces extreme nausea and then forced to watch violent films, conditioning him to associate violence with sickness.
Chapter 4: As part of the treatment, Alex is now also conditioned against his beloved classical music, as it was used as the soundtrack for the violent films. He begins to realize the full horror of what he has agreed to, losing not only his violent tendencies but also his love for music.
Chapter 5: The doctors demonstrate the success of the Ludovico Technique by presenting Alex before an audience and provoking him. Despite various aggressive and humiliating triggers, Alex is unable to respond with violence and feels violently ill when he tries.
Chapter 6: Alex is released from prison, deemed fully “reformed.” His parents reject him as they’ve rented his room out to a lodger. With nowhere else to go, Alex ends up sleeping in a library.
Chapter 7: In the library, Alex is recognized by the old man he and his droogs had attacked in Part One. The man, along with a group of elderly people, attack Alex, who finds himself unable to defend due to the conditioning.
This section of the novel demonstrates the effects and implications of the Ludovico Treatment and Alex’s conditioning. It shows Alex’s transformation from a violent criminal to a defenseless individual, incapable of exercising his own free will.
PART THREE
Chapter 1: After the altercation at the library, the police pick up Alex, but he recognizes the officers as his former droogs, Dim and Billyboy. They take him to the countryside, beat him, and leave him there.
Chapter 2: Alex stumbles upon a cottage and asks for help. The cottage turns out to be the home of the writer he had attacked in Part One (the Manse). The writer doesn’t recognize him because he wore a mask during the attack.
Chapter 3: The writer, F. Alexander, sees Alex as a victim of the government’s inhumane treatment and wants to use him as a tool to bring down the government. Alex enjoys being cared for but is tormented by the sound of Beethoven playing in the background.
Chapter 4: Alex’s identity is revealed when he inadvertently uses a phrase (“Singing in the Rain”) that triggers the writer’s memory of the attack. F. Alexander and his colleagues decide to use this to their advantage, even though they are aware of the danger Alex poses.
Chapter 5: F. Alexander and his colleagues drive Alex to attempt suicide by playing Beethoven’s Ninth Symphony incessantly, which due to his conditioning makes him feel violently ill. Alex jumps from a window, but he survives.
Chapter 6: Alex wakes up in a hospital, with his conditioning seemingly reversed. He can fantasize about violence and listen to Beethoven without feeling sick. He’s a minor celebrity, with reporters eager to hear his story.
Chapter 7: Alex runs into Pete, one of his old droogs, who is now married and settled down. Alex begins to envision a similar future for himself, with a wife and a son, marking his potential maturation and change. The novel concludes with Alex musing on the cyclical nature of youth and violence.
This section sees Alex manipulated as a political pawn and used as a symbol of the state’s inhumane treatment of its citizens. However, by the end of the novel, Alex appears to have undergone a genuine transformation, marked by his longing for a more peaceful, conventional life.