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W. W. Norton & Company

A Clockwork Orange

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One of Esquire's 50 Best Sci-Fi Books of All Time “A brilliant novel.… [A] savage satire on the distortions of the single and collective minds.”―New York TimesIn Anthony Burgess’s influential nightmare vision of the future, where the criminals take over after dark, the story is told by the central character, Alex, a teen who talks in a fantastically inventive slang that evocatively renders his and his friends’ intense reaction against their society. Dazzling and transgressive, A Clockwork Orange is a frightening fable about good and evil and the meaning of human freedom. This edition includes the controversial last chapter not published in the first edition, and Burgess’s introduction, “A Clockwork Orange Resucked.” 6 illustrations Read more

Publisher ‏ : ‎ W. W. Norton & Company; Reprint edition (May 21, 2019)


Language ‏ : ‎ English


Paperback ‏ : ‎ 240 pages


ISBN-10 ‏ : ‎ 0393341763


ISBN-13 ‏ : ‎ 68


Lexile measure ‏ : ‎ 1310L


Item Weight ‏ : ‎ 2.31 pounds


Dimensions ‏ : ‎ 5.5 x 0.6 x 8.3 inches


Best Sellers Rank: #1,071 in Books (See Top 100 in Books) #40 in Dystopian Fiction (Books) #55 in Classic Literature & Fiction #171 in Literary Fiction (Books)


#40 in Dystopian Fiction (Books):


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Top Amazon Reviews

    • ONE OF THE FEW PERFECT COUPLINGS OF READER AND BOOK
Lets start with the book--"A Clockwork Orange." Anthony Burgess grew to hate this book, not because of its contents , but because it so overshadowed all of his other works. Burgess was a man of divers interests which he wrote about in both fiction and nonfiction. He was a superb writer. Words, for him, seemed to come easily. I must say, Burgess deserves mention as a sociological Jules Verne, a man who made stark predictions of future turns that have panned out. In "A Clockwork Orange," which he wrote fairly early in life, he created a deeply disturbing world in which young teens run free to commit violent crimes of all kinds at night. The opening pages of this book are filled with gang fights, muggings, rape, beatings, burglary, and car theft. Alex, the protagonist of this first-person narration, never shows even a smidgen of remorse about the crimes he has committed. He simply relates his tale, including a scene in which he rapes two girls he estimates to be pre-teen. The only violence the sociopathic Alex regards as problematic is violence against him. In the story, he is arrested and eventually introduced into an experimental new program that uses drugs and hypnotics to make people incapable of violence. Note, this does not mean he sees it as wrong, just that he cannot become violent without being sickened. He is a cat without claws or teeth that is placed back in a world filled with enemies (many of whom are the good people he tortured) and the results are as cruel as he is. The story is simple, the telling is sublime. Alex speaks "Nadsat," a slang language of Burgess's creation that mixes Russian words, rhyme, and English slang. A good portion of the novel is told in these words, so the reader needs to pay careful attention in the beginning, learn a new vocabulary, and apply that vocabulary to every paragraph. In my case, I was not a reader but a listener, and that enhanced the experience greatly. It enhanced the experience largely do to the amazing talents of Tom Hollander, a gifted character actor who injects so much into this book. You may know Hollander. He played the parson Mr. Collins in "Pride and Prejudice" and the officious Cutler Beckett in the second and third "Pirates of the Caribbean" movies. He generally plays the short guy with the big ego. If I had his reading ability, I'd have an ego the size of a mountain. Hollander adds a brash, boastful, cockney attitude to Alex. His range of voices and characters seems endless as he brings old men, politicians, prisoners. thugs, policemen, prison guards, priests, and psychologists to life. There have been a few perfect pairings of reader and text. If you try this audio book and agree with me, you might also want to listen to "The Anansi Boys" as read by Lenny Henry; "Memoirs of a Geisha," read by Bernadette Dunne--there are other productions of "Memoirs" with readers. I can neither recommend nor criticize other versions as I have not heard--I highly recommend holding out for Ms. Dunne's reading; and "The Green Mile" and "Freaky Deaky" read by Frank Muller. ... show more
Reviewed in the United States on March 1, 2011 by Steven L. Kent
    • Very good book.
This book was very good and very enjoying. Thank you.
Reviewed in the United States on November 26, 2024 by Alvin BW brown
    • Freedom of Mind, Freedom of Choice
"The question is whether such a technique can really make a man good. Goodness comes from within, 6655321. Goodness is something **chosen**. **When a man cannot choose he ceases to be a man**." When I reached this passage in Anthony Burgess' *A Clockwork Orange*, I immediately recognized it as one of the most (if not the most) important message among the many in this intriguing, fast-paced novel (it is then reinforced later on in the novel by the author/victim F. Alexander). Also present in Kubrick's film, but not stated with the same emphasis and strength, it comes from the 'rot of the Staja's charlie' (or, translating from Nadstad--the slang used by teenagers in Burgess' futuristic dystopian England--"the prison's chaplain's mouth") and tells everything: this book is about free will. To be honest, I've never been much interested in the fortuitous, ultra-violent concept behind Kubrick's film (which I had never seen before finishing the book this week), but decided to give the book a shot after learning about its intricate linguistic complexities, by incidentally reading the 'Translator's Notice' in the most recent Brazilian translation (Fabio Fernandes for publisher Aleph). There, Fernandes enthusiastically go over each of the main devices used by Burgess to create a sense of strangeness in the dystopic future of ACWO and how he as a translator dealt with them: the Russian-derived words in nadsat ('horrorshow'/хорошо for excellent, 'rot'/рот for mouth, 'rooker'/руки for hands, 'litso'/лицо for face, 'malenky'/маленький for little or tiny, 'devotchka'/девочка for girl, 'veshch'/вещь for thing and so on), the childish rhyming slang (like kids talking cute in words like 'skoliwoll', 'gutiwutis', 'eggiweg') and the pompous sort-of-shakespearean discourse (filled with thus's, thou's and thine's). All of that made me start reading the Brazilian translation in Portuguese and the original English version simulteaneously. But soon I felt comfortable moving on only with the original, having a nadsat glossary at hand just not to lose track of anything. Actually, as soon as I made it through the surf of the nadsat, just like in Joyce's *Ulysses* (and Burgess as a linguist was a devoted Joycian), ACWO turned into a very entertaining journey because it is so fast-paced. However, the comparison with Joyce's can't go much beyond the surface of the linguistic mimicking, because Burgess himself admitted in life that he wrote ACWO in a hurry (scholars now say he wrote the book in 18 months, but Burgess himself used to brag he did it in just three weeks because he needed the money). Actually, all Nadsat, the childish rhyming slang and the sort-of-shakesperean discourse seemed to me to be rather gross stylistic shortcuts, like finding a solution to create this sense of strangeness of the dystopic future quickly (it certainly makes it easier to establish that all Nadsat comes from anglicized Russian, but why would it be that way?--was there a time when England was under Russian command?). The same can be said about Alex's pompous Shakespearean tone--it is cool, but it is there just because it is cool, no matter how hard it is to explain in the context of the novel why is that. Differently from the Kubrick's film, 'Your Humble Narrator' Alex is, at the beginning of the novel, only a 15-year-old violent teenager who actually comes from a (presumably) stable family--which maybe could help explain how he had the chance to know so much about classical music and develop his devotion to "Ludwig van", although all references to classical music in the novel seem to be, as Nadsat and Shakespeare, stylistic shortcuts as well. In any event, Alex's story goes on for more or less three years, and that is what makes the whole difference with Kubrick's movie (and indeed caused Burgess himself to depricate it), as clearly Malcolm McDowell was not only much older (isn't that something that happens with all adaptations of Hamlet to the screen as well?) but also out-of-placedly immature. I must confess I was completely 'nagoy' about the controversy surrounding the last, 21st chapter. All I can say is that, at first, it really came to me as a blatantly sarcastic detour. It was like the book was moving in one direction and all of sudden it moved almost 180 degrees around. Until the end, I was eagerly waiting for a plot twist that would put it back on track, but that was a hope slowly vanished as the unread pages diminished. So all I had as a console was the prison's chaplain's phrase: if Alex couldn't choose, he wouldn't be free, so he had to learn by himself what goodness was really all about. It is a sort of naïve idea that maybe was needed in the 1960s when Burgess wrote the book, but an idea that didn't age well. That is not what you could say about the rest of the book, which not only didn't age, it became so fluid with our own reality that it has, sadly enough, fallen almost into our everyday triviality. ... show more
Reviewed in the United States on March 2, 2024 by Regis
    • Real Horror Show!
A Clockwork Orange is… violent. It is lewd. It is appalling. Degenerative. And ultra-violent. Written in a slang English-Russian. This has been one of the best books I have ever read. In the beginning you have Alex. Who is a degenerate. A sexual predator. Violent thug. Thief. But throughout the story and especially in Chapter 21 you see…growth. Real growth. From a 15 year old kid who wouldn’t bat an eyelash and even enjoy a little ultra-violence to someone who is slightly more mature and grown. It’s worth every page and every sentence. A man who cannot choose for himself, ceases to be a man at all. Anthony Burgess wrote something really good here, and while I realize it may not be for everyone. I think everyone needs to read it. ... show more
Reviewed in the United States on January 9, 2025 by Christopher George
    • Quality Book
NGL the lingo had me confused at first but overall good book. Love collecting classics. Nice paperback.
Reviewed in the United States on November 4, 2024 by butternit

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