Music: the soundtrack of the film
TW: violence, rape (incl.gang and underage), home invasion, police brutality.

In a rather drab world, Alex and his droogs find entertainment in violence, rape, and drugs, and in Alex's case, also in classical music. A little younger than others, he faces betrayal, a strange choice, and a lot more...

I think watching the film, (maybe) some idea of the plot, and/or knowing about the type of slang this book uses, helps one tolerate reading about all the violence (and not just Alex's gang's) and other cruelties in this book. Released in 1962, this book tells of a future ten years on, with an author insert. Some differences to the film, including the last chapter which was not included in American versions before 1988 (which also wasn't included in the film - I can see both why it could be seen as not necessary, yet also why it is - life develops in strange ways). The author was a bit annoyed of it being his most known novel, but as one it is a pretty decent one.

(I wonder if Bret Easton Ellis has read this book?)

It is a grey, dystopian world - even if it doesn't really name the country it's set in firmly, it feels
British - full of revolting youths (violence, vandalism), corrupt and violent police, weak government, everyone needing to work if not too young, sick, or pregnant. One reason Alex is cured of his treatment is because anti-government, intellectual opposition wants to make him an example of it 'not working'. Alex has already been a while in a correctional school, in trouble for some years, but is it just a phase of some years or permanent? The goverment believes in punishment, and doesn't seem to be able to think questions about prevention before it happen are worth a thought.

The book is divided into three parts, the first most violent (in the second part only when Alex is repeatedly shown violent film material does things get on the same unbearable level, and it does feel such for Alex, too, as his treatment progresses). The third part of after, apart from what happens to our hero, also makes you observes changes in people and the neighborhood - fashion, who is gone, who is changed, who gets revenge on Alex, who can't defend himself now. And only when things get back to normal and comfortable for Alex, does a developing, natural change for Alex - adulthood and thoughts about a family of his own and calming down even in music taste start to feel appealing.

So much more details and things not on film appear here. Of course, rereading some part will be unappealing, but as a whole, the book works even at my three-stars rating. The introduction to my version was good, and some themes in the book (choice, betrayal, solutions to violence, passivity) are worth thinking about. This is not a book free of triggers in no way, but if one can read it, I think it's worth it.

I read this book in my teens. I think Anthony Burgess saw what was coming. The feral characters in this book are akin to what we saw here in the UK towards the end of the 1980's and into the 1990's and the 2000's.

I remember it became such an epidemic, these hooded youths running amok in our society and I recall that David Cameron, our prime minister at the time said we should all "Hug A Hoodie". I know, laughable right? Anyhow the book is well worth a read and the film is worth watching. I am pretty certain that here in the UK the film was banned for many years. Then again it is not surprising as it was directed by Stanley Kubrick. Enough said.
If you do not fancy reading the book then the film is worth a watch. I personally rather read a book first and then watch the film.

Reaction after an almost re -read

I watched th film wayyyyy back before I read the book 2 years ago. For me reading the book was more harrowing than watching the film (Malcolm McDowell *wink wink nudge nudge*)
there are certain parts that I still go back and re read. While I never sympathised with Alex's behaviour or situation, I couldn't help but liking him to some extent. His character just grew on me as the book progressed.
And that left me more disturbed than anything! :D
The musical references were an added bonus :)

****
Phewwwww....

A Clockwork Orange is one of those books which everyone has heard of but which few people have actually read –- mostly, I think, because it is preceded by a reputation of shocking ultra-violence. I’m not going to deny here that the book contains violence. It features lengthy descriptions of heinous crimes, and they’re vivid descriptions, full of excitement. (Burgess later wrote in his autobiography: ‘I was sickened by my own excitement at setting it down.’) Yet it does not glorify violence, nor is it a book about violence per se. Rather it’s an exploration of the morality of free will. Of whether it is better to choose to be bad than to be conditioned to be good. Of alienation and how to deal with the excesses to which such alienation may lead. And ultimately, of one man’s decision to say goodbye to all that. (At least in the UK version. The American version, on which Stanley Kubrick’s film adaptation was based, ends on a less optimistic note.) In short, it’s a novella of ideas which just happens to contain a fair bit of violence.

It is also quite an artistic and linguistic achievement. Those who have seen the film will know that Alex (the anti-hero) and his droogs (friends) speak a made-up language full of Russian loanwords, Shakespearean and Biblical influences and Cockney rhyming slang. Initially this nadsat language was nearly incomprehensible to me, and my first response to it was bad. I found myself cursing Burgess, telling him that it wasn’t fair to put his readers through something like that. (If I want to read an incomprehensible book, I’ll read Finnegans Wake, thank you very much.) However, Burgess takes great care to introduce his new words in an understandable way, so after a few pages I got the hang of the nadsat lingo, and after a few more pages I actually began to enjoy it, because I’m enough of a linguist to go in for that sort of thing. I found myself loving the Russian loanwords, rejoicing when I recognised a German loanword among them and enjoying the Shakespearean quality of Alex’ dialogues. I finished the book with an urgent wish to learn Russian and read more Shakespeare. I doubt many readers will respond to the book in that way (not everyone shares my enthusiasm for languages and classical stuff), but my point is: you’ll get used to the lingo, and at some point you’ll begin to admire it, because for one thing, Burgess is awfully consistent about it, and for another, it just sounds so damned good. I mean, if you’re going to come up with a new word for ‘crazy’, you might as well choose bezoomny, right? Because it actually sounds mad. Doesn’t it?

Anyhow, there’s more to A Clockwork Orange than just philosophical ideas and linguistic pyrotechnics. The writing itself is unexpectedly lyrical, and not just when it deals with violence. Some of the most beautiful passages in the book deal with music. More specifically, classical music, because for all his wicked ways, Alex has a passion for classical music. He particularly adores Beethoven, an adoration I happen to share. I came away from the book thinking I might consent to becoming Alex’ devotchka (woman, wife) simply because he is capable of getting carried away by Beethoven’s Ninth and hates having it spoilt for him. He’s cultured, is Alex, and while his culturedness obviously does not equal civilisation and goodness (a point he himself is quick to make), it does put him a notch above the average hooligan. It’s the apparent dichotomy between Alex’ tastes in art and his taste for violence which makes him such an interesting protagonist and which keeps you following his exploits to their not entirely believable (but good) conclusion.

In short, then, A Clockwork Orange is an excellent book –- a bit challenging at first, but gripping and interesting and full of style and ideas. Not many books can claim as much.

n  “Is it better for a man to have chosen evil than to have good imposed upon him?”n


I FINALLY BOUGHT IT. I need to start buying shit that I really want to read and stop having them on my TBR for years *let’s see when I will finally get Carmilla and American Psycho*.
Ok so obviously I’ve seen the movie which has a better ending but kkkkkk. Also, yeah I’m against censorship and editing someone’s work but bruh America did the right thing when they omitted the last chapter….
It was fun and interesting and I love violence so it was great. Apparently it is really disturbing but I’m dead inside so I’m not commenting on that. I trust you guys.
I don’t want to sympathize with Alex but the fact that he was the only one who went to jail is fucked up and rude. I want to write an in depth review but the fucking heat won’t let me.


n  ‘’Ludovico Technique: The hope is to reduce prison overcrowding and cut down on street violence by effectively re-wiring people's brains against violent thoughts.’’n
Let’s be real, on paper it’s an excellent idea but torturing people and making them change is fucked up and no one should be forced to undergo torture.

…the movie is better don’t @ me :))))). Also omfg the cover is SO FUCKING BEAUTIFUL!!! LOOK AT ITTTT!!!

i've owned this book for 7 years and it wasn't even on my to read list. which gives an indication of how excited i am to read it

update: even anthony burgess doesn't get the appeal of this one.

this is one of those books that i can see why it'd be great to assign as school required reading, but...pretty meh in adult life!

bottom line: the nicest thing i can say about this is that i'm pretty sure i would have liked it more if i was discussing it at 7:45 am with 20 miserable adolescents.

„Портокал с часовников механизъм“ е страхотна антиутопия! Антъни Бърджес умело е разгледал темите за огромното насилие, промиването на мозъци и други важни обществени проблеми. Освен това, той е написал книгата на удивителен глобален жаргон, който я прави още по-интересна и въздействаща... Главният герой Алекс е изключително агресивен младеж, чиито приключения са страховити, но и поучителни... Популярната екранизация на Стенли Кубрик също много ми харесва и мисля, че чудесно се допълва с книгата!





„Бях като зашеметен, о, май брадърс, и не скивах хорошо, но със сигурност бях срещал някъде тия полисмени. Онзи, който ме беше хванал пред входа на Общинската книготека и викаше „Стига, стига, стига", не го познавах изобщо, но ми се увиди очен янг за кримполицай. Но за гърбовете на другите двама бях сигурен, че съм ги виждал и преди. Те с болшой плежър и кикот шибаха с маленките си камшици дъртаците и викаха:
- Ах, вие, лоши момчета, сега ще ви научим как се правят размирици и се нарушава редът на Държавата, негодници такива.
И избутаха задъханите, хриптещи и почти умирающи дърти отмъстители обратно в читалнята, а потом се върнаха, нахилени от джой, че ме увиждат. По-възрастният рече:
- Хо х охо хо хо, ако това не е литъл Алекс. Долго не сме се увидили, френд. Как е?
Бях зашеметен, а от униформата и шлема не можех да го разпозная, макар че неговите фейс и войс ми бяха очен знакоми. Но щом скивах и другия зад него с ухилено сумашедше лицо, нямах съмнение. Вцепенен и все по-вцепеняващ се, посмотрих отново към първия. Та това беше дебелият Билибой, моят олд енеми. Другият, ъфкорс, беше Дим, някогашният ми френд и поетому енеми на вонящия пръч Билибой, сега бе станал ченге с униформа и шлем, и с камшик, за да пази реда. Успях да обеля онли „О, не!",
- Сюрпризче, а? И Дим изцвили както едно време.“

Youth is an age of rebellion…
“…for there is nothing but getting wenches with child, wronging the ancientry, stealing, fighting…”
William Shakespeare – The Winter’s Tale
And Anthony Burgess’s task was to illustrate this concept…
Youth rebels in reality… Youth rebels in dystopia… Youth rebels in black comedy…

There was me, that is Alex, and my three droogs, that is Pete, Georgie, and Dim, Dim being really dim, and we sat in the Korova Milkbar making up our rassoodocks what to do with the evening, a flip dark chill winter bastard though dry.

The young want to do their own thing… They need their own culture… Or rather counterculture…
And milk isn’t as innocent as it may seem… There is always some addition of chemical elation… So four comrades in arms have a lot of criminal fun… But there is such thing as pedagogy… Is it of any use?

Modern Youth would be better off if A Lively Appreciation Of The Arts could be like encouraged. Great Music, it said, and Great Poetry would like quieten Modern Youth down and make Modern Youth more Civilised. Civilised my syphilised yarbles. Music always sort of sharpened me up…

However there is also a final pedagogical institution – gaol… But even prison may turn out to be not pedagogical enough…
The shepherd in The Winter’s Tale tells that hibernation is the best way to render youth innocuous… So Alex’s free will is put to sleep… He becomes as obedient as a wind-up toy… He turns into a clockwork orange… Will an orange manage to survive amongst pigs?
He who can’t wield his free will duly doesn’t deserve it.

Este libro es muy difícil de describir. Es un clásico,más conocido por su película, que muy poca gente se ha animado a leer.

Yo me animé y me enganchó desde la primera hoja. Debo decir que el protagonista, Alex, narra la historia con un vocabulario inventado mezclado con una jerga de la que yo nunca había oído en mi vida, por lo cual toma algunas páginas familiarizarte con las palabras y comprender lo que quieren decir - para los que tienen la versión de los 50 años, al final hay como un diccionario para comprenderlas todas- pero una vez que te acostumbras a la jerga, realmente la comienzas a disfrutar porque te das cuenta de que es perfecta para un libro como este.

Sí, tiene "ultraviolencia" que es el termino que se utiliza para los actos que comete Alex y sus compañeros, pero finalmente el libro no se trata de eso. Se trata de la moral, de poder elegir entre el bien y el mal y como, muchas veces, lo más importante NO es simplemente eliminar el delito.

Ahora, el capitulo 21 del libro es lo controversial ya que en la película no lo muestran y en la edición norteamericana de la novela, la quitaron. Sin embargo, el autor decidió que para él el libro no estaba completo sin ese capitulo y pide a los lectores que escojan como hubiera quedado mejor. La verdad es que me gustó más el final de la película, es más potente me parece. Sin embargo, me gusta tener la opción de poder escoger y haber leído el capítulo 21 también

No es un libro para todo el mundo, no lo recomiendo para todo el mundo. Pero a mi me encantó

'What's it going to be then, eh?'

That was me, that is your humble commentator, sitting down to pass my glazzies over a book eemyaed A Clockwork Orange I'd sobirated from the biblio. I was ready to be tolchocked in my litso, to have my mozg pried out of my gulliver, to feel that sickening drop in the yarbles when falling from a great tower block; I expected to be preached to by that nadmenny veck A. Burgess in all his high goloss; I expected to loathe Alex and all his malenky malchick droogs. But by Bog or God I got something much more horrorshow.

I actually enjoyed A. Burgess's nadsat burble. I found veshches -- like all the ultra violence and razrezzing and oobivatting and twisted radosty -- to be oomily delivered. I ponied where little Alex was coming from and raged against the millicents and infintmins and prestoopniks and bolnoy sophistos that were arrayed against him. I actually guffed and smecked at like many veshches. But I nearly platched at how malenky little Alex saw the error of his ways and looked forward to a life of chai and a zheena and malenky vecks of his own.

But once I viddied the story like once I wanted rookerfuls, and I've returned again and again, both to A. Burgess's book and S. Kubrick's sinny.

A Clockwork Orange is one of the five or six true greats ever govoreeted. The nadsat isn't at all gimmicky. The lomticks of philosophy are compelling and grow in relevance with the passing of raz. And I for one, oh my brothers, will always "remember the little Alex that was. Amen. And all that cal."

Now he was a chelloveck of malevolently heroic proportions.

Alex and his gang are the product of a generation where violence is habitual and trivialized. For them, it is not a question of unease or the sign of a revolt but quite simply of a simple distraction. The paradox in the story is that Alex is passionate about classical music, music meant to soften souls and not lead them to depravity.
So, their favorite pastime is terrorizing poor people. Physical violence, verbal violence, nothing omitted. Alex is, in a way, the “guru” of his gang since he addresses them by qualifying them as “brothers.”
Alex’s mother, ignorant at the beginning of her son’s actions, eventually surrenders to reality and accepts that a new experience has performed on her son. The doctors in charge of practicing this therapy on Alex will make him listen to classical music (the one that is, in a way, his hymn) while forcing him to watch the worst images of violence and torture on the big screen. Thus, they could sensitize him and make him realize what violence means.
The book is a little tricky to access since Anthony Burgess invented a whole language Alex and his acolytes used. Still, it is undoubtedly one of the most outstanding of his time, just like the film directed by Stanley Kubrick in 1971.

پرتقال کوکی (با این اسم نامانوسش برای مخاطب فارسی زبان) داستان پسر جوانی را روایت می کند (الکس) که همراه با سه زیردستش، بی محابا دست به جنایت می زند، بدون آن‌که عاملی درونی یا بیرونی مانع او شود. در یکی از صحنه های ارتکاب جنایت و دزدی بواسطه توطئه دوستانش به دام پلیس می‌افتد و از آن‌جا به زندان و سپس به مرکز بازپروری روانی فرستاده می شود. روانپزشکان ادعا می کنند بعد از دو هفته درمان نه چندان پیچیده، میل به ارتکاب هرگونه عمل ناپسند را در الکس از بین می برند و همین اتفاق هم می افتد اما...

فیلم را چند سال قبل دیده بودم و توقع داشتم کتاب به اندازه کافی برایم جذاب نباشد، اما از همان صفحه اول کتاب متوجه شدم که سخت در اشتباهم و این دو علت داشت: علت نخست ترجمه ی بسیار شیرین جناب آذسن بود که با هنرمندی تمام، زبان ابداعی برجس را با ابتکار بسیار به زبان فارسی برگردان کرده بود. به عنوان مثال به کار بردن لغاتی چون بصیرت = چشم، بصیرتک= عینک، یاور=دست، دوگوله=سر، شخیلکان= دوستان، افرت=زن ، خوشکه=دختر، دیرینه=پیر ، پشیله=گربه، دنگوله=زنگ، تلچک=تودهنی، هرتنه=قهقهه، بهرگ=شلوار و از این دست کلمات. علت دوم، شخصیت پردازی قوی نویسنده بود که باعث می شد برخلاف فیلم، با آنتاگونیست داستان ارتباط خوبی برقرار کنم. هم‌ذات پنداری با یک ضدقهرمان!
کشمکش درونی الکس که صرفا تحت عوامل کنترل کننده بیرونی است، از میانه ی داستان، ضدقهرمان را به قهرمان تبدیل می کند و بدین گونه ما با دو صورت از الکس روبرو می شویم: تجسم پلیدی مطلق و تجسم نیکی .برخلاف انتظار نیست که نیکی محض الکس به اندازه شرارت محض او دردسر ساز باشد. الکس پس از مرخص شدن از مرکز بازپروری، قدرت اختیار خود را از دست می دهد، در عین حال که قدرت انتخاب او همچنان پابرجاست. شرارت درون او بالقوه ست و در این‌جا او قدرت انتخاب خوب و بد را دارد، اما این انتخاب توان بالفعل شدن ندارد و هر انتخاب درونی او، تبدیل به عملی غیرارادی و ناخواسته می شود که مطابق با عرف جامعه است. دوگانگی الکس در پرتقال کوکی برجس، بی شباهت به دوگانگی سر ویکنت ترابلا در ویکنت دو نیم شده ی کالوینو نیست
فیلم کوبریک (اقتباس از نسخه آمریکایی کتاب) و کتاب اصلی (نسخه انگلیسی) در پایان با یکدیگر تفاوت زیادی دارند و در واقع در نسخه آمریکایی کتاب، فصل آخر حذف شده است. بنابراین دوستانی که تنها فیلم پرتقال کوکی را دیده اند، علاوه بر زبان منحصر بفرد و شیرین کتاب، پایان واقعی آن را نیز از دست داده اند

پی نوشت: اگر قصد خواندن ترجمه را دارید حتما نسخه الکترونیک و ترجمه فربد آذسن را بخوانید