Famously, Burgess wrote spoof reviews of novels under the pseudonym ‘Joseph Kell’. He warned readers that Kell’s Enderby saga was, in many ways, a dirty book. The last in the sequence is even dirtier. A Clockwork Orange is Burgess’ best-known novel. He believed it was famous because an American film-maker got it wrong. Stanley Kubrick’s adaptation was called ‘Clockwork Marmalade’ by Burgess. The 1962 novel is a meditation on youth, with a sub-Joycean patois. Kubrick made it more understandable. The story features Alex DeLarge, a juvenile delinquent. The film has orgiastic violence, which Burgess resented. Theological dispute was one problem with the adaptation. Copycat crimes by British fans of the movie were another. Kubrick withdrew the film from circulation in Britain. A third element was Burgess’ time as a professor in New York in 1972. He was cranky and feeling his age. The narrative of Enderby opens with him waking in a squalid apartment. He has a wet dream and rights to his poem about Hopkins’ poem have been sold for a pittance to a Jewish film director who made a nun-slasher movie. Enderby is reviled and discovers a disturbing truth about Hopkins. He has three heart attacks and dies during a sexual bout. His last words are: ‘Oh, this is all too American’.

Short, sharp, and as utterly Burgessian as you might imagine. This description immediately brings to mind the unique style and essence of a particular work or experience. It implies a concise yet powerful nature, with a distinctiveness that is unmistakably associated with the renowned author or artist, Burgess. The brevity suggests that every word or element is carefully chosen and packs a punch, leaving a lasting impression. The sharpness might refer to the incisive nature of the ideas presented, cutting through the clutter and getting straight to the heart of the matter. And the fact that it is described as utterly Burgessian indicates that it embodies the characteristic traits, themes, and literary devices that are synonymous with Burgess's body of work. It could be a story, a poem, a painting, or any other form of creative expression that showcases the genius and individuality of this remarkable artist.

I truly did enjoy the book. I read it several years ago, and recently decided to give it another look. The story line is absolutely captivating!!! I have a great affinity for most plots that deal with any ethical standpoint, and this one was no exception. I always find myself wondering just how far we are from the scenarios presented in the book. I found this to be a relatively quick read. With our present advanced technology, it is all too easy to overlook the unique language that Burgess applied.

I am aware that most people read this book during their high school years. However, I would highly recommend taking another look at it. You may be surprised by how much more you can discover and appreciate upon a second reading. The book offers deep insights into human nature, ethics, and the potential consequences of our actions. It is a thought-provoking piece of literature that is well worth revisiting.

Enderby is uproariously politically incorrect.

While teaching a creative writing class, he is extremely scornful of his students' efforts and couldn't care less about them or any of the intellectual dwarfs in the world who surround him. He even goes so far as to invent a minor poet named Gerald Whitelady.

However, he is a proponent of free speech when it comes to his adaptation of a poem. In the hands of a director, this adaptation transforms into a movie about Nazis raping nuns.

This has an all-too-obvious connection to real life, as Burgess was criticized for the violence inspired by the movie adaptation of his most famous novel by Stanley Kubrick, which Burgess allegedly described as "Clockwork Marmalade".

Enderby is a gloriously dyspeptic creation, full of contradictions and a unique perspective on the world.

Uma fantasia do Burguess sobre a reação pública ao filme do Kubrick, baseado no livro dele.

The best part is to perceive how universities, including American ones, had already gone through a permissive adolescence phase fifty years ago.

It was no longer a world for the Enderby.

In this fictional account by Burgess, we are presented with an interesting perspective on the public's reaction to Kubrick's film which was based on his book. The idea that universities, even those in America, experienced a period of permissiveness during their adolescence fifty years ago is quite revealing. It shows how society has changed and evolved over time.

This concept of a permissive phase in universities can have far-reaching implications. It might have influenced the way students thought, learned, and interacted with each other. It could also have had an impact on the academic and social environment of the institutions.

As for the Enderby, it seems that the changing world was no longer suitable for him. Perhaps he was a product of a different era and found it difficult to adapt to the new circumstances. This could be a metaphor for how some people struggle to keep up with the rapid pace of change in society.

Overall, this fantasia by Burgess offers a thought-provoking look at the relationship between film, literature, and society. It makes us question how our perceptions and experiences are shaped by the times we live in.

Part of my Burgess obsession when I was in high school was truly remarkable. I was completely captivated by his works, spending countless hours poring over his novels and stories. The unique style and vivid imagination that Burgess possessed simply enthralled me. His ability to create complex characters and weave intricate plots left me in awe. I would often find myself lost in the worlds he had crafted, experiencing a range of emotions along with the characters. Whether it was the dark and dystopian landscapes or the humorous and satirical situations, Burgess always managed to keep me engaged. This obsession not only broadened my literary horizons but also inspired me to explore my own creativity. It was during this time that I developed a deep love for literature and a desire to understand the power of words. Even now, as I look back on those days, I can still feel the excitement and passion that my Burgess obsession brought me.

This novella is the third installment of Burgess's Enderby books. Even though it can be enjoyed independently (it has been a long time since I read the first two), it is truly remarkable how many ideas and words Burgess manages to cram into just 160 pages. As always, the main allure here is Burgess's linguistic pyrotechnics. Very few writers possess such cleverness or display it so persistently. In this regard, Burgess is on par with Nabokov.

There are two additional aspects of this book that set it apart from Burgess's other works. Firstly, Burgess directly addresses the most famous and uncharacteristic incident of his career - the notoriety resulting from Kubrick's adaptation of A Clockwork Orange. Burgess's association with the movie was a bit of a double-edged sword. He felt that the adaptation had little to do with the book. Moreover, the Clockwork book doesn't have much connection to the rest of Burgess's oeuvre. So, it is both interesting and hilarious when Enderby has to grapple with a pornographic adaptation of one of his relatively minor works. Secondly, this book transports Enderby, an English poet who is inescapably associated with eating beans, to early seventies New York, where he has to deal with radical students. Although there are some tone-deaf racist jokes, Burgess is not merely interested in this as a form of (simplistic and outdated) humor. The issue of race and how something that seems so tangential to a person's identity can be so powerfully confining is dealt with quite seriously in this book.

Enderby is stomping out, loudly shouting and vigorously brandishing his stick.

This scene could potentially be quite humorous, yet it also harbors some very serious undertones.

It delves into themes such as original sin, incitement, and censorship.

However, it is difficult to fully accept some aspects of it, even when presented as the viewpoints of a person who seems to be from a bygone era.

The combination of the comical exterior and the profound and perhaps disturbing inner meanings makes this a complex and thought-provoking situation.

It forces the viewer or reader to grapple with the ideas presented and question their own beliefs and attitudes towards these important issues.

Whether one can ultimately stomach it or not, it无疑 leaves a lasting impression and sparks a lively debate.

I made a decision to reread the Enderby novels. This was after I recently perused a biography of Burgess, and the author described them as a kind of veiled, extremely exaggerated autobiography. I had never regarded the books in that light before, mainly because Enderby is such a clumsy and bumbling character. However, I thought it would be interesting to go back and take another look.

In this third Enderby novel, Burgess appears to have become more at ease with his verbal extravagances. He is also making allusions to his own difficulties regarding the film adaptation of A Clockwork Orange. This makes the book more accessible and likable compared to the two previous ones. It offers a different perspective on Burgess's work and allows the reader to gain a deeper understanding of his creative process and the influences that shaped his writing.

8.1

This is a poignant, semi-autobiographical account of the last day of Enderby's life.

The title serves as a testament to the profound success of "A Clockwork Orange," which unfortunately led to countless misinterpretations by the general public, who deemed it excessively crass.

Enderby's time as a professor is reminiscent of Burgess' own teachings, and the format of the book is sprinkled with homages to "Ulysses."

It gives the impression of a very personal account of elderly existence, yet it is obviously filled with classic Burgessian wit.

It's a shame that it is so short, as there are some truly great moments within its pages.

One can't help but feel a sense of longing for more as the story comes to an end, left with the impression that there is so much more that could have been explored and developed.

Nevertheless, what is there is a beautiful and engaging piece of writing that offers a unique perspective on life and aging.

Heard this was good.

I tried a Burgess novel a few years ago and didn't like it. I think it was over my head. Maybe it was because I wasn't ready for his unique style or the complexity of his ideas.

However, I'm willing to give him another shot. I believe that with more experience and a different perspective, I might be able to appreciate his work better this time.

Who knows, maybe this new attempt will open up a whole new world of literature for me and I'll discover the genius that others have seen in Burgess.

I'm excited to see what this new reading experience will bring and I'm looking forward to delving into his novel with an open mind and a willingness to learn.

A thinly veiled reaction to the remarkable popularity of the movie A Clockwork Orange, this work holds great significance. Burgess ingeniously presents his own profound thoughts on the intense backlash that the movie received through the character of Professor Enderby.

Enderby is a British poet who resides and teaches in the vibrant city of Manhattan during the 70's. He is a likable character, yet he often finds himself in rather precarious situations. Without much thought, he blurts out offensive phrases, which inevitably solicits harsh reactions from both his students and studio audiences.

It's important to note that this is the final book of the Enderby Trilogy. As such, it brings a sense of closure and conclusion to the story arc of Professor Enderby. It delves deeper into his character, his experiences, and the consequences of his actions, providing readers with a more comprehensive understanding of the man and the world he inhabits.

Overall, this book offers a unique perspective on the intersection of art, society, and the human psyche, making it a thought-provoking and engaging read.