Title

The author whom is widely known as Anthony Burgess was born John Burgess Wilson in Manchester, England in 1917. He came from a middle-class Catholic family which was stricken by tragedy soon after the birth of young John; his mother and sister died of the Spanish influenza in 1919. Wilson’s father worked mostly odd jobs and was often absent from young John’s life. He was subsequently raised by his aunt and stepmother, often in shabby conditions. John attended Catholic primary and secondary schools, but broke from his Catholic roots fairly early on in his life. He received a BA in English Language Literature from Victoria University of Manchester in 1937.

John Wilson, as he was then known, enlisted in the Royal Army Medical Corps in 1940, but later switched to the Army Educational Corps. He married Llewela Jones in 1942, and was later stationed in Gibraltar. After leaving the Army in 1946, Wilson spent several years as a secondary school teacher in England. In 1954 he accepted a teaching job in Malaysia and lived there until 1958. It was during this time period in which he adopted the pen name Anthony Burgess. Burgess lived and taught in Brunei for a year, until he collapsed in his classroom in 1959. He was diagnosed with a brain tumor and told by physicians that he had one year to live. He then proceeded to write eleven novels in the next four years. Llewela Jones died in 1968, and Burgess remarried later that year to Liliana Macellari. The couple and their young son travelled Western Europe and the United States until settling in Monaco in 1976. He lived there until 1993, when he moved back to England in order to die in his homeland. He passed away on November 22, 1993.

Anthony Burgess is regarded as one of the “busiest authors of his time”, writing over twenty-five novels in addition to plays, biographies, translations, screenplays, and criticisms (Encyclopedia of World Biography). He was also an accomplished composer of music. His Burgess’s most famous works include A Clockwork Orange (1962), Time for a Tiger (1956), Honey for the bears (1963), The Wanting Seed (1962), Enderby (1968), and his translation of Cyrano de Bergerac (1971). He is internationally recognized for his “satirical style and linguistic inventiveness” (“Biographical Sketch”).

A Clockwork Orange – Overview

Set in a dystopian future, A Clockwork Orange tells the story of Alex, a young man who finds pleasure in the destruction of others. His lack of morality is shared with his friends and peers, groups of which roam the streets, leaving havoc and turmoil in their dust. Alex’s brutality is felt in every age group, and knows no economic boundaries, his savageness running rampant until his crimes are finally taken too far. After being caught, the state places Alex in a program to recreate the young man he is…make him fear cruelty, and become sick in the face of viciousness.

The state’s efficiency is unmatched, and before long, the old Alex is a mere memory. Malice replaced by sympathy and compassion, he is let back out into the world a new person, only to realize no one ever expected his return. His old “droogs,” or friends, have moved on: dying, joining the police, or simply growing out of the life. And his previous rivals roam the streets, unafraid of his blade. Even in his own home, Alex has been replaced by a more courteous and responsible version of himself, all his old effects sold to the highest bidder. As all his prior victims have their revenge on the young narrator, Alex matures. The “ultra-violence” that once pleased him, now sickens him, even after he is cured of the state’s adjustments. By the close of the novel, he has decided he wants more out of life – a wife and kids – despite the knowledge that the next generation will be exactly as he was when he was young, and will commit even more destruction.

The Wanting Seed – Overview

Once again, in a dystopian future not so far off from our own, overpopulation has created innumerable problems. Homosexuality has become state-sponsored and families are limited in the number of children they can produce. Living conditions are cramped and even the most necessary and basic of resources are being reused again and again. In the middle of all this, a young couple, Beatrice-Joanna and Tristram Foxe suffer the death of their infant son. Tristram’s brother Derek, unlike him, decides to pretend to be a homosexual in public, although in his private life he has an affair with his sister-in-law. As the police become more oppressive, arresting more and more for seemingly pointless reasons, Tristram falls victim to the prison system. Mistakenly, he becomes mixed up with the wrong crowd and is thrown behind bars.

While in jail, the society around Tristram changes drastically; with the crumbling of government and the disorganization of the social order many of the previous traditions have become taboos, and the taboos traditions. Religion is now openly practiced, and fertility rituals are not only present but are supported and endorsed. Tristram escapes jail, with some help, in an attempt to be with his wife once again. He joins a “dining club,” a pack of people who prey on others as food – cannibalism being an acceptable practice now – yet does not initially know what he is eating. Eventually, Tristram is tricked into joining the military and is shipped off to fight a war with no enemies. Unbeknownst to him, the battles that take place are merely tools for population control, the dead bodies recycled into food for the masses. When Tristram’s battalion is killed, he begins his long trek back into the society of England. At the end of the novel, he meets up once again with his wife, now the wife of his brother Derek. She has twins.

Identification of Author Style Elements

Anthony Burgess uses many literary devices to convey the themes and portray the characters of his works. His deep focus on character development strengthens the impact the piece has on its audience by allowing the reader to gain great access into the minds of the people Burgess creates. The diction and syntax the author employs act almost as psychological beacon for the audience to evaluate, becoming both the character’s conscience and his reasoning. To allow the readers this in-depth study, there are often similar stylistic elements present in Burgess’s works, such as:

- Foreign Influences – Anthony Burgess was a man of the world, he was fluent in many languages and lived in many countries. He carried all those outside influences, everything he had learned from Malaysia, Borneo, and especially Russia, and placed them in his novels. Perhaps the most easily identified example of this would be in A Clockwork Orange, in Alex’s constant use of what he calls, “Nadsat,” the language of him and his “droogs.” For example, “There were three devotchkas sitting at the counter all together, but there were four of us malchicks and it was usually like one for all and all for one.” This quote not only shows Alex’s informal style of narration, but also houses two words of Nadsat: “devotchkas,” meaning girls, and “malchicks,” meaning boys.

- Anti-Government Themes – Anthony Burgess was not necessarily anti-government, but he viewed the governments he saw as too oppressive and too powerful:

“Brutality!” cried Tristram. The class was at last interested. “Beatings-up. Secret police. Torture in brightly lighted cellars. Condemnation without trial. Finger-nails pulled out with pincers. The rack. The cold-water treatment. The gouging out of eyes. The firing squad in the cold dawn. And all this because of disappointment. The Interphase.”

Burgess did not see government as an entity that was capable of judging the public. However, by the descriptions he gives in The Wanting Seed of life after the government has fallen and been all but destroyed, one can deduct that he is not for its eradication. Without government, cannibalism becomes a means of survival, an ugly mark upon the human population. But, once again, when the government is reinstated and regains power, meaningless wars are proclaimed that cause endless deaths. Burgess uses the undertones of his novel to show that neither extreme could produce a better world, and that only some sort of compromise in between could solve the question of power.

- Imagery – In both novels, A Clockwork Orange and The Wanting Seed, Burgess focuses on topics that involve a decaying future. In order to allow his audience to truly understand the concepts he presents, Burgess employs extensive use of imagery as a tool to implant his stories into the minds of his readers. For example, in The Wanting Seed, to describe Beatrice-Joanna arriving at the State Health Service, the narrator says:

“She filled her lungs with air as if about to dive, then thrust her way into the jam of people packing the vast hospital vestibule. With its mixture of pigments, cephalic indices, noses and lips, it looked like some monstrous international airport lounge.”

While it may be simpler to use few words and merely explain what happened, Burgess instead gives the audience pictures with which they can create their own pictures of what the hospital looks like, how full it is, and the thoughts that are swirling around Beatrice-Joanna’s head.

- Slang – Anthony Burgess often uses slang in his dialect for character development as well as to give the audience a sense of kinship with his characters. Tristram and the rest of the public population affectionately refer to the police as the “Greyboys” in The Wanting Seed and Alex, the young narrator of A Clockwork Orange even goes so far as to create his own language, Nadsat, a combination of English and Russian. In A Clockwork Orange, the slang becomes an essential part of the story, as it also helps show the evolution and changes Alex goes through, how the state’s “Ludovico Technique” affects his mentality and what it does to his psyche. As Alex matures, his dialogue becomes more mature as well, using less and less slang, giving it a more formal, proper tone. But the lack of complete abandonment from his old dialect also gives the reader the sense that there still lives a little piece of the old Alex, even in the novel’s closing lines:

“A terrible grahzny vonny world, really, O my brothers. And so farewell from your little droog. And to all others in this story profound shooms of lipmusic brrrrrr. And they can kiss my sharries. But you, O my brothers, remember sometimes thy little Alex that was. Amen. And all that cal.”

- Seemingly Gloomy/Dreary Endings – While it may not be an essential part of all of Burgess’s writings, the two novels in question both end on rather low notes. However, the way Burgess sets up his conclusions, neither one really ends with a negative message; but instead, they use a dreary, depressing setting and tone to describe a kind of somber optimism. A sense that, even though times may be tough, one day things may get better sweeps through both books, although the reader also reaches the conclusion that those needed changes may not come in time:

“The wind rises…we must try to live. The immense air opens and closes my book. The wave, pulverized, dares to gush and spatter from the rocks. Fly away, dazzled, blinded pages. Break, waves. Break with joyful waters…”

or may only lead to more destruction:

“But where I itty now, O my brothers, is all on my oddy knocky, where you cannot go. Tomorrow is all like sweet flowers and the turning vonny earth and the stars and the old Luna up there and your old droog Alex all on his oddy knocky seeking like a mate. And all that cal.”

The first quote, from The Wanting Seed, takes place as Tristram and Beatrice-Joanna share one last embrace on a bridge. A sweet moment, yes, but underlying it is the truth that she is now with his brother, and that no matter what he does, he can never win her from Derek. However, one can still understand the tone of the finale – the metaphor and imagery presented with the tides and rocks – even though life may not be what was planned, it’s still worth continue living. The second quote, taken from Alex’s final rant in A Clockwork Orange, gives the reader the sense that he is now alone and mature, drained of the fun, violence-striving self that once inhabited his body. However, now Alex is ready for more, he is ready to continue on in his life and most importantly, he no longer needs the reader’s ear for support. His final lines tell the reader directly that they can no longer follow his story, he must now make his own decisions without any backing, he must now take full responsibility for his actions.

Deconstructionist Analytical Essay

Anthony Burgess looked at society and saw corruption and hatred. Violence and repression were the laws, while morality and personal freedom were its victims. Most of Burgess’s works reflect this concern for the society of tomorrow, but none more than A Clockwork Orange and The Wanting Seed. The worlds he created in these two novels, both set in dystopian futures, implicitly criticize the current by showing the extremes to which the path of the present would lead. The undertones the author lays are all miniature critiques, each one another piece of the completed puzzle he made of his vision; and it is these pieces themselves that determine the true meanings of the novels. Through the words Burgess chooses, the figurative language he so eloquently displays, and the humor he still laughs at, even from his grave, A Clockwork Orange and The Wanting Seed define themselves, creating meanings never explicitly stated, and further exemplifying those that could not stay hidden.

A Clockwork Orange and The Wanting Seed are, at their cores, critiques on culture. Both display, through different methods, the need for social change, a call to arms of the people to modify existing rules and break down current borders, to alter what they see as “free” and “dumb.” A Clockwork Orange does this through its use of a modified language and a freelance, free-willed, first-person style. The intention of using Nadsat in the novel may have stemmed from a passion for languages, but it ended up implicitly aiding in the meaning of the piece. The combining of words from completely different languages – English and Russian – not only breaks the rules of literature itself, but also exemplifies the want for a break down of borders, by uniting ideological opposites. Alex, the novel’s young narrator, also serves to prove the underlying tones of the story. He is an unreliable speaker, driven by a need to fulfill his wants and a want to destroy others’ needs. His evolution from an immature, impulsive young “malchick” into the calmer, slightly more sophisticated “chelloveck” by the novel’s end reflects the need for a societal change while also showing, metaphorically, the growth and decay that is inevitable with the current status. Just as well, with the final lines in the book, A Clockwork Orange also warns of the dangers that come with forgetting the past: “But you, O my brothers, remember sometimes thy little Alex that was. Amen. And all that cal.” With power comes corruption and repression, and only after every law has been broken can freedom truly reign.

Quite differently, The Wanting Seed focuses on employing word play and juxtaposition, coupled with a third-person narrative, to comment on the plight of overpopulation and, implicitly, the dangers of an overly-controlling government. The story is told from the point-of-view of an outside onlooker, viewing the problems of Tristram Foxe and Beatrice-Joanna with an objective eye. This perspective serves as a catalyst to increase the reader’s understanding, giving them all the information possible. As well, the choice of third-person itself becomes its own irony – in a novel bent on ousting the government as a denier of facts to the public, the reader is given the widest perspective to view from. “It’s Sapiens to be Homo,” the novel’s mantra, is a play on the words Homo sapiens, which is the scientific species name given to humans. In this case, it humorously shows how the book’s government initially uplifts homosexuality as a population control and looks down upon heterosexuals. Finally, The Wanting Seed employs juxtaposition to comment on the progress of society. As Tristram is imprisoned, the freedom permitted to the population is greatly increased. While he rots away, fertility rituals flourish and the government loses its hold over the people, creating havoc that was no better than oppression.

Burgess did not agree with a totalitarian government, but I doubt he strived for anarchy, either. Both novels contain political undertones, and each one deals with society in its own way. A Clockwork Orange relies on foreign variations on traditional wordplay to question the definition of freedom and The Wanting Seed employs juxtaposition to address problems not yet reached by society. Unlike A Clockwork Orange, which used Alex’s thoughts to further the plea for change, The Wanting Seed refuses the reader any help, insisting he or she make a decision based on the situation at hand. Both of Burgess’s novels compliment each other well, giving two different perspectives on one man’s view of the world, and helping to define what that world meant.

Marxist Analytical Essay

“ Imagine there's no countries, it isn't hard to do. Nothing to kill or die for, and no religion too”—while this may be John Lennon’s partial description of his utopian society, these features are prominent in the dystopian societies of Anthony Burgess’s novels The Wanting Seed and A Clockwork Orange. John Lennon drew upon these images from a highly idealistic version of Marxism; a society without capitalistic influence, nationalism, or religious bigotry. Anthony Burgess took these same elements and imagined two futuristic versions of England that could occur if created on a Marxist foundation. In both Anthony Burgess’s The Wanting Seed and his A Clockwork Orange, basic Marxist theories of the exploitation of the average citizen and the alienation of people from their natural human behavior; however, in The Wanting Seed, Burgess’s writing shows a model of Karl Marx’s theory of history, whereas A Clockwork Orange mi rrors an individual’s struggle towards a Marxist ideal within an authoritarian system. Karl Marx stated in his Economic & Philosophical Manuscripts that the government treats the proletarian, or average worker, “like a horse”, and that “[the government] does not consider [the proletarian], during the time when he is not working, as a human being”. The general mistreatment and exploitation of the proletariat by the government is a theme that shared by both The Wanting Seed and A Clockwork Orange. For example, Part I of The Wanting Seed consists of a description of a tiny, state-mandated apartment filled with flavorless, artificial food (26). One of the book’s two protagonists, Beatrice-Joanna Foxe, feels trapped in her skyscraper-filled England. The death of her infant son, Roger, is viewed with indifference bordering on positivity by the government, who is interested only in turning Roger’s remains into nourishment for the soil (4). The state is obviously not run by the commonplace, reasonable person, as if it were, such suppression of human feelings would not be prevalent. In A Clockwork Orange, the ultraviolent droogs, or thugs, can be seen as a product of a repressive government. The two aforementioned works have some Marxist elements in common, but differ in fundamental ways. The Wanting Seed is set in a futuristic version of Earth in which only two political entities exist: the English-Speaking Union and the Russian-Speaking Union. The focus of the book is upon the center of the English-Speaking Union, which is London. Government in this Union is a chaotic yet cyclical affair in which the state changes its collective opinion about human nature and structures laws accordingly. The book begins in Pelphase, in which the government has a positive view of human nature and results in a state of police forces and social services. However, the consequential society is cold and devoid of most natural human behavior; this is not unlike Marx’s opinion of a capitalistic and imperialistic society. As this Pelphase descends in chaos, there is a reemergence of human values such as religion, matrimony, and paternity. The chaos results in a classless society and a brief Marxist ideal with one major hitch—cannibalistic tendencies. Order is resumed in the Union through a military dictatorship, a hyperbolic version of a Stalin-era Soviet Union or a Mao-era China. These governments are the realistic results of Marxism-based revolutions, and Burgess follows and exaggerates this pattern of history.

In contrast to The Wanting Seed, A Clockwork Orange relates to Marxism on a personal basis. Some of the book’s main characters exhibit the consequences of life in an authoritarian capitalist society. Although Alex and his friends are motivated mainly by their own psychotic personalities in their violence, capitalistic materialism is clearly shown in their robberies. An example of state-based tyranny is the administration of the Ludovico Technique to Alex; Alex has no free will in the process.

Reader-Response

Anthony Burgess’s works can be shocking because they provide alternate perspectives of violent and/or social taboos.

--Example: In the beginning of The Wanting Seed, homosexuality is glorified as a method of population control. Later in the book, cannibalism and pointless warfare are adopted as the alternative method of population control.

--Example: Alex, the main character of A Clockwork Orange, sees the acts of pillaging, beating, and raping as entertainment.

While these ideas are shocking when introduced, they sometimes become humorous when developed.

--Example: “‘Betrayed,’ said Tristram dramatically. ‘Betrayed by homos.’” (The Wanting Seed, 84)

The Wanting Seed shows a harsh view of human nature: fickle and phony, willing to do anything to just survive. Those who adhere to their principles even when governments change policy are ridiculed and sometimes persecuted.

--Example: Shonny, one of the protagonists’ brother-in-law, is a devout Catholic through the anti-religious Pelagic government and has two children, as per his religion, despite population-control laws. He makes his own wine and raises his own animals, although both are forbidden by law. Although he is preserving his heritage, beliefs and way of life, Shonny is persecuted by government officials.

The Wanting Seed exhibits the capabilities of men to exhibit multiple personalities in different spheres of their lives.

--Example: Derek Foxe is Beatrice-Joanna’s lover in private and a homosexual government official in public. He also professes to love Beatrice-Joanna, but sends government officials to find her and abort her unborn child when he discovers that she is pregnant. He also keeps his brother in jail despite being fully able to free him.

Historical

Both novels published in 1962

Various world events that happened around and before this time could have influenced Burgess and his writings

Booming world population

In The Wanting Seed, the idea of overpopulation had to come from somewhere, and the fact that the baby boom that followed WWII was not slowing down did not look good for the future
More people would mean less accommodations

New ideas about morality

Alex’s violent nature stemmed from new ideas that were occurring throughout the world
People were being de-sensitized to death and decay by movies and novels that pushed he boundaries of what was considered acceptable and what wasn’t

More secular thoughts – less focus on organized religion

Clearly, there is an emphasis on the secular side of life in Burgess’s novels, however, there are brief flings with religion in The Wanting Seed by the less-oppressed public

Around the world, people were not impressed by their governments

This idea fueled most of Burgess’s writings that critiqued government, as he himself was not content with the level of involvement of his political entity

Not long before, totalitarianism had reigned around the globe

Still cooling off from the world of Hitler and Stalin, new political theories rose up that focused on the good of the people, not the man ruling them

Ideas of freedom and independence springing up

People began needing more than then usual promises, they wanted rights and privileges that would guarantee them those promises

Vietnam War saw endless death tolls

Needless killing is the focus of the last section of The Wanting Seed, in which Tristram joins the military only to find it is a ruse to make food for society

Many around the world opposed war – entire nations were not behind their soldiers as in World War I and II

Even more than opposing war, many had no idea what was going on, much like the soldiers near the end of The Wanting Seed, who would not believe Tristram’s call of foul play.

Biographical

Burgess himself did not have a good relationship with his parents – mother died when he was very young, and father was a drunk

Reflects relationship between Alex and his parents
Parents become less caring for Alex, replacing him while he is imprisoned

Raised by stepmother – detested her with a passion

Hatred for his stepmother may have led to the decision to make Alex go out on his own, without parental assistance

Taught himself to read music and play the piano and violin

Alex is a man of impeccable taste, often listening to Beethoven and Mozart while his droogs listen to the popular filth of the time

Lived in small, cramped apartments throughout childhood

Alex as well lives in a rather small apartment
Cramped areas and poor childhood could have influenced the writing of The Wanting Seed – allowing Burgess to identify with the cramped living spaces and lack of available resources that resulted from overpopulation

Led solitary childhood during which he felt angry and resentful

When Alex is let out of jail, back into the real world, he is alone for the most part
Alex becomes a pariah, without friends, only having enemies

Although somewhat poor, Burgess received high quality education

His education is shown throughout both novels, each eloquently written
Also shown in the themes of the story – all extreme yet completely believable
Alex is a boy of classical tastes, yet is a savage on the outside – mimics Burgess’s love for the finer things, but he did not come from money

Joined military in Royal Army Medical Corps
Later joined Army Educational Corps where he conducted speech therapy at a mental hospital

In depth study of speech allows Burgess to make authentic dialogue

Failed to win an officer’s commission

The dreary optimism that ends Burgess’s novels may stem from his failures, although he always kept trying to earn a better position, never giving up

Stationed at Gibraltar at an army garrison – taught German, Russian, French, and Spanish

Flair for languages shown with Nadsat

Multiple-Choice Quiz

1. Who is the author of A Clockwork Orange and The Wanting Seed?

A. Chuck Palahniuk

B. Anthony Burgess

C. Vladimir Nabokov

D. Craig Clevenger

2. What is the name of the young protagonist of A Clockwork Orange?

A. Tristram

B. Alex

C. Derek

D. Greg

3. From which university did the author receive his BA in English Language Literature?

A. Victoria University of Manchester

B. Oxford

C. Boston University

D. Harvard

4. What is the term Burgess uses instead of “friends” to describe the protagonist’s gang in A Clockwork Orange?

A. Droogs

B. Glazzies

C. Britvas

D. Molokos

5. What year were both novels published?

A. 1961

B. 1962

C. 1972

D. 1973

6. What is the major problem plaguing society in The Wanting Seed?

A. Nuclear War

B. Overpopulation

C. Agricultural Deficiency

D. A Really Big Seed

7. Where was the author born?

A. Here

B. London, England

C. Manchester, England

D. Paris, France

8. What is the mantra of The Wanting Seed?

A. “It’s Homo to be Sapiens”

B. “It’s Sapiens to be Homo”

C. “It’s Homo to be Sexual”

D. “It’s Sexual to be Homo”

9. How do people deal with the lack of food in The Wanting Seed?

A. Eat rocks and minerals

B. Clone animals

C. Cannibalism

D. Drink a lot of water

10. The language used by the protagonist of A Clockwork Orange is called what?

A. Nadsat

B. Klingon

C. Fritalian

D. Spanese

11. Why did the author move back to England in 1993?

A. To die in his homeland

B. He felt most inspired there

C. He missed his family

D. The food

12. Who does the protagonist’s final lines in A Clockwork Orange address?

A. His father

B. The Reader

C. The Government

D. His Siblings

13. What group is discriminated against in the beginning of The Wanting Seed?

A. Homosexuals

B. Males

C. Heterosexuals

D. Communists

14. What does Tristram refer to the police as?

A. Pigs

B. Greyboys

C. The Man

D. The Fuzz

15. What do “devotchka” and “malchick” mean, respectively?

A. Boy and girl

B. Girl and boy

C. Evil and good

D. Good and evil

16. The language used by the protagonist of A Clockwork Orange is a mixture of what two languages?

A. English and Spanish

B. French and Spanish

C. English and Russian

D. English and German

17. What is the name given to the re-educational program in A Clockwork Orange?

A. The Da Vinci Code

B. Re-socialization

C. The Anti-Violence Technique

D. Ludovico Technique

18. What does Tristram unknowingly join after he escapes from jail?

A. MySpace

B. A book club

C. Cannibals Anonymous

D. Dining Club

19. Why is Anthony Burgess regarded as one of the “busiest authors of his time?”

A. He had so many jobs

B. He has written twenty-five novels

C. He rarely had time to write

D. He was always moving to different countries

20. Why are the wars in The Wanting Seed fought?

A. Population Control

B. To conquer territory

C. Oil

D. Leaders with opposing ideals

21. Who is Beatrice-Joanna married to at the end of The Wanting Seed?

A. Tristram

B. Derek

C. Alex

D. Anthony Burgess

22. What famous play did Anthony Burgess translate?

A. Hamlet

B. Cyrano de Bergerac

C. Canace

D. Ivanov

23. What does the protagonist strive for at the end of A Clockwork Orange?

A. More violence

B. Peace on earth

C. To stay young

D. Wife and kids

24. Who were the main musical influences of the character from A Clockwork Orange?

A. Bob Dylan and the Beatles

B. Ludwig Van Beethoven and Wolfgang Amadeus Mozart

C. Nicolai Lomov and Charles Lynch

D. Joseph Haydn and Muzio Clementi

25. Which of the following languages did Anthony Burgess not teach in Gibraltar?

A. Russian

B. Chinese

C. French

D. Spanish

Bibliography

Aggeler, Geoffrey. Anthony Burgess: The Artist as a Novelist. University of Alabama Press, 1979.

Biswell, Andrew. The Real Life of Anthony Burgess. MacMillan UK, 2005.

Boytinck, Paul W..Anthony Burgess: An Enumerative Bibliography. Norwood Editions, 1974.

Burgess, Anthony. A Clockwork Orange. New York: W.W. Norton and Co., 1962.

Burgess, Anthony. The Wanting Seed. New York: W.W. Norton and Co., 1962.

Coale, Samuel. Anthony Burgess. Ungar Publishing Company, 1981.

Ghosg-Schellhorn, Martina. Anthony Burgess: A Study in Character. Peter Lang Publishing, 1986.

Lennon, John. “Imagine.” Imagine. EMI, 1971.

Lewis, Roger. Anthony Burgess: A Biography. 2002.

Marx, Karl. Economic & Philosophical Manuscripts of 1844. Moscow: Progress Publishers, 1959.

Mathews, Richard. The Clockwork Universe of Anthony Burgess. 19. Borgo Press, 1978.

Morris, Robert K. The Consolation of Ambiguity: An Essay on the Novels of Anthony Burgess . University of Missouri Printing, 1971.

Stinson, John J. Anthony Burgess Revisited. Twayne Publishing, 1991.

Links

The International Anthony Burgess Foundation

Anthony Burgess Biography and Essays

Site Dedicated to the 1971 Stanley Kubrick Classic – A Clockwork Orange

Overview of A Clockwork Orange with Emphasis on the Nadsat Language

Glossary of Nadsat Words

The Anthony Burgess Center

AP Lit Author Projects