Teaching the Dystopic Novel at Advanced Level English Literature

(Session support notes)

Introduction
As part of
The dystopic novel evinces a strong theme common in much science fiction
and fantasy fiction, the creattion of a future time (usually), when the conditions
of human life are exageratedly bad due to deprivation, oppression or terror.
This created society or dystopia fre!uently constucts apocalyptic views of a
future using crime, imorality or corrupt government to create or sustain the
bad !uality of peoples lives, often conditioning the masses to believe their
society is proper and "ust, and sometimes perfect. #t can provide space for
heroism in disrupting the dystopian setting (e.g. $ohn Savage in %rave &ew
'orld). (ost dystopian fiction ta)es place in the future but often purposely
develops contemporary social trends ta)en to extremes. *ystopias are
fre!uently written as commentaries, as warnings or as satires, showing
current trends extrapolated to nightmarish conclusions.
Dystopia
A brief note on the etymology of Dystopia
The +xford ,nglish *ictionary reports that the term *ystopia was first used
in the late -.th century by %ritish philosopher $ohn Stuart (ill. /e also used
$eremy %entham0s synonym, cacotopia. The prefix caco means the worst.
%oth words were created in apposition to utopia, a word coined by Sir
Thomas (oore to describing an ideal place or society.
DYT!"IA# definition
dys12dus1 (3atin24ree) roots5 0bad0 or 0abnormal0) 6 1topos (4ree) root5
0place0) 7 0bad place0
eu1 (4ree) root5 0good0) 2 ou1 (4ree) root5 0not0) 6 1topos (4ree) root5 0place0)
7 0good2no place0
dystopia n. an imaginary wretched place, the opposite of utopia
utopia n. a place or state of ideal perfection, the opposite of dystopia
Some writers see the difference between a 8topia and a *ystopia often lying
in the reader2visitor0s point of view5 +ne person0s heaven being another0s hell.
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$ommon traits of dystopian fiction
The following is a list of common traits of dystopias, although it is not
definitive. (ost dystopian films or literature includes at least a few of the
following5
a hierarchical society where divisions between the upper, middle and
lower class are definitive and unbending.
a nation1state ruled by an upper class with few democratic ideals
state propaganda programs and educational systems that coerce most
citi:ens into worshipping the state and its government, in an attempt to
convince them into thin)ing that life under the regime is good and "ust
strict conformity among citi:ens and the general assumption that
dissent and individuality are bad
a fictional state figurehead that people worship fanatically through a
vast personality cult, such as 1984s %ig %rother or Wes The
%enefactor
a fear of the world outside the state
a common view of traditional life, particularly organi:ed religion, as
primitive and nonsensical
a penal system that lac)s due process laws and often employs
psychological or physical torture
constant surveillance by state police agencies
the banishment of the natural world from daily life
a bac) story of a natural disaster, war, revolution, uprising, spi)e in
overpopulation or some other climactic event which resulted in
dramatic changes to society
a standard of living among the lower and middle class that is generally
poorer than in contemporary society
a protagonist who !uestions the society, often feeling intrinsically that
something is terribly wrong
because dystopian literature ta)es place in the future, it often features
technology more advanced than that of contemporary society
To have an effect on the reader, dystopian fiction typically has one other trait5
familiarity. #t is not enough to show people living in a society that seems
unpleasant. The society must have echoes of today (see ;osenblatt< =i)e), of
the reader0s own experience. #f the reader can identify the patterns or trends
that would lead to the dystopia, it becomes a more involving and effective
experience. Authors can use a dystopia effectively to highlight their own
concerns about societal trends. 4eorge +rwell apparently wanted to title 1984
1948, because he saw this world emerging in austere postwar ,urope.
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ome e%amples of dystopian literature
1984 by 4eorge +rwell
A Clockwork Orange by Anthony %urgess
Ante! by Ayn ;and
>
"ra#e $ew World by Aldous /uxley (This could perhaps be
considered a utopia, as the people in that society are certainly happy,
but it is more generally regarded by critics as a dystopian satire, as the
population is actually drugged into happiness.)
%areneit 4&1 by ;ay %radbury (see also the >??@ 8S politcal movie
echo %areneit 911)
'e (and!aid)s 'ale by (argaret Atwood
*ord o+ te %lies by 'illiam 4olding (an example of a dystopia that
ta)es place in the present)
'e ,acine -tops by ,.(. Aorster
Welco!e to te ,onkey (ouse by Burt Connegut
ome e%amples of dystopian films
A Clockwork Orange by Stanley Bubri)
"lade .unner/ adapted from 0o Androids 0rea!
o+ 1lectric -eep2 by =hilip B. *ic)
*ogan)s .un
,etropolis by Arit: 3ang
-oylent 3reen
'e 'er!inator and its se!uels
14 ,onkeys
ome e%amples of dystopias in music
Cri!e o+ te Century (-.D@) by the %ritish band
Supertramp depicted and evo)ed the personal,
social and institutional causes and effects of alienation and mental
illness in contemporary society.
'i!e (-.E-) by ,3+ features trac)s that may be considered dystopian
or utopian depending on your point of view.
O5 Co!puter (-..D) by the %ritish band ;adiohead.
%ritish band =in) Aloyd and its film adaptation are considered by many
to be the epitome of dystopian music. =in) Aloyd0s *ar) Side of the
(oon (-.DF) and many of their other recordings also explore dystopian
themes.
'e 6leasure 6rinciple (-.D.) by 4ary &uman, ex1leader of the
Tubeway Army, continued his narratives of a robotic world in songs li)e
,etal.
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$ommonly used dystopias
These could be used as introductory exercises for students to identify traits in
settings of well )nown dystopic films, to raise awareness prior to reading.
Totalitarian dystopias
As the name suggests, totalitarian societies utilises total control over and
demands total commitment from the citi:ens, usually hiding behind a political
ideology. Totalitarian states are, in most cases, ruled by party bureaucracies
bac)ed up by cadres of secret police and armed forces. The citi:ens are often
closely monitored and rebellion is always punished mercilessly. Stories ta)ing
place in totalitarian dystopias usually depict the hopeless struggle of isolated
dissidents. Totalitarian dystopias have, in general, dar) psychological depths
and strong political !ualities. &itler0s Third 'eich and talin0s oviet (nion
were real examples of such societies.
,xamples5 Nineteen Eighty-Four (novel< TC play< motion picture), We
(novel), Fatherland (novel< TC movie).

&ineteen
,ighty1Aour

)ureaucratic dystopias
%ureaucratic dystopias, or technocratic dystopias, are strictly regulated and
hierarchial societies, thus related to totalitarian dystopias. 'here totalitarian
regimes strive to achieve complete control, bureaucratic regimes only strive to
achieve absolute power to enforce laws. 'hen totalitarian regimes tend to
found their own laws, bureaucratic regimes tend to defend old laws. The law
always seem to stand in conflict with rational thin)ing and human behaviour.
To change status !uo, even everyday procedures, is a long and difficult
process for the citi:ens. #t goes without saying such dystopias have strong
satirical !ualities and to some extent surreal !ualities as well.
,xamples5 Brazil (motion picture), The Trial (novel< several TC plays< TC
movie).

$yberpun* dystopias
A cyberpun) society is essentially a drastically exaggerated version of our
own. Gyberpun) is a heterogeneous genre, but most dystopias have the
following settings5 the technological evolution has accelerated, environmental
collapse is imminent, the boards of multi1national corporations are the real
governments, urbanisation has reached new levels and crime is beyond
control. #mportant, but not necessary essential, concepts in cyberpun) are
@
cybernetics, artificial enhancements of body and mind, and cyberspace, the
global computer networ) and ultimate digital illusion. Gyberpun) stories are
often street1wise and violent. #t is debatedly the most influential dystopian
genre ever.
,xamples5 Neuromancer (novel< comic), Blade Runner (novel5 Do Androids
Dream of Electric Sheep< motion picture< comic< computer
game), !atri" (motion picture), Strange Days (motion picture).
%lade ;unner

$rime dystopias
Grime dystopias may have different settings. These societies have been
infested with grave criminality and the authorities are about to lose control or
have already lost it. This criminality may span from street crime to organised
crime, more seldom governmental crime such as corruption and abuse of
power. The authorities often use drastic and inhumane measures to fight the
moral decay, perhaps out of desperation, perhaps out of necessity. The
society is often in imminent danger of becoming totalitarian. Grime dystopias
are not seldom political statements, usually of a radical and controversial
nature.
,xamples5 A #loc$%or$ &range (novel< motion picture), The 'ast Will of
Dr( !a)use (novel< motion picture), The Escape from Ne%
*or$ (motion picture5 part of series).
A Gloc)wor)
+range
!verpopulation dystopias
The population of the world has grown dramatically and the limited resources
of our planet are exhausted. (an)ind is living in dispair and society is in
imminent danger of becoming or has already become social1darwinistic.
There is an enormous wealth gap between the rich and the poor, and military
and police are used to control the starving masses. There are many parallells
between overpopulation dystopias and cyberpun) dystopias, especially when
spea)ing of environment and urbanisation. This )ind of dystopia is rather rare,
which is surprising5 it may become an imminent problem in the near future.
,xamples5 !a$e Room+ !a$e Room+ (novel< motion picture5
Soylent ,reen), Stand on -anzi)ar (novel).
Soylent 4reen
H
Leisure dystopias
3eisure dystopias are probably best described as utopias gone wretched or
failed paradise1engineering pro"ects. #n these societies, all problems have
been solved, at least officially, and all citi:ens are living in wealth and
happiness. 8nfortunately, this is often achieved by suppressing individuality,
art, religion, intellectualism and so on and so forth. Gonditioning,
consumption, designer1drugs, light entertainment and similar methods are
widely used in order to combat existential misery. Gonformity is encouraged
as it ma)es it easier to control the population. The government0s means of
control are always of a very subtle nature and open repression is basically
non1exist. 3eisure dystopias are not very common nowadays, probably as
8topia is almost extinct as concept.
,xamples5 Bra.e Ne% World (novel< TC movie), Demolition !an (motion
picture), The /oy !a$ers (novel), Things to #ome (motion picture).
%rave &ew 'orld

+eminist dystopia
As the name suggests, feminist dystopias deal with oppression of
women. The feminist dystopia is built on patriarchal structures and the role of
woman has been diminished, e.g. to house1)eeping and breeding. The
society is often totalitarian or at least crypto1totalitarian, sometimes with more
or less obvious parallells to fascism as represented in ,ussolini0s Italy and
&itler0s -ermany. To one degree or another, all dystopias are patriarchal, but
in feminist dystopias it is explicit. This genre is debatedly one of the most
innovative dystopian genres nowadays, but have received a remar)ably small
amount of attention, all too small in my opinion.
,xamples5 The 0andmaid1s Tale (novel< motion picture), Wal$ to the End of
the World (novel), Woman at the Edge of Time (novel), Bulldozer Rising
(novel).

The /andmaid0s Tale

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$ritical bac*ground for teaching about dystopias
$haracteristics of dystopias (Source5 'i)ipedia.com)
*ystopias usually express original and innovative ideas, thus forming a
heterogeneous genre. Still, there are some common characteristics.
ettings
*ystopian depictions are always imaginary. Although /itler0s Third ;eich and
Stalin0s Soviet 8nion certainly !ualify as horror societies, they are still not
dystopias. The very purpose of a dystopia is to discuss, not depict
contemporary society or at least contemporary man)ind in general. Stories
li)e 'a7i 0ri#er and 1ne!y o+ te -tate may have dystopian !ualities, but they
still depict reality, however twisted the prere!uisites of those stories might be.
*ystopian depictions may borrow features from reality, but the purpose is to
debate, critisise or explore possibilities and probabilities.
*ystopia is not really about tomorrow, but rather about today or sometimes
yesterday. &evertheless, dystopian stories ta)e place in the future in most
cases. The year -.E@ may have past, but 4eorge +rwell0s horror story
described a plausible future scenario when it was published for the first time in
-.@. and it may still come true in a not too distant future. #nteresting
exceptions from this rule are uchronias, so called 'hat1ifJ stories, li)e
%aterland.
*ystopias have always been a powerful rethorical tool. They have been used
and abused by politicians, thus ma)ing dystopian stories controversial. The
anti1totalitarianism in $ineteen 1igty8%our is explicit, but the anti1;eaganism
in $euro!ancer is implicit. The war1ridden world in the ,ad ,a7 triology is
obviously a *ystopia, but it would be ridiculous to call it a political statement,
although one can claim it is a warning regarding the dangers of anarchy and
Social1*arwinism.
Themes
The leitmotif of dystopias has always been oppression and rebellion. #n
$ineteen 1igty8%our, the pseudo1communistic party #ngsoc0s oppression of
the people is obvious, but the multi1national mega1corprotions0 oppression of
the people in $euro!ancer is more subtle. The oppressors are usually more
or less faceless, as in '(9811:8, but may sometimes be personified, as in
"lade .unner.
The oppressors are almost always much more powerful than the rebels.
Gonse!uently, dystopian tales often become studies in survival. #n
$euro!ancer it is simply a !uestion of staying alive, in "ra#e $ew World it is
a !uestion of staying human. #n $ineteen 1igty8%our it is even a matter of
remaining an individual with own thoughts. The hero, because it is usally not a
D
heroine, often faces utter defeat or sometimes =yrrhic victory, a significant
feature of dystopian tales.
As the citi:ens of dystopian societies often live in fear, they become paranoid
and egoistical, almost li)e hunted animals. *ystopian citi:ens experience a
profound feeling of being monitored, shadowed, chased, betrayed or
manipulated. The factors which trigger this paranoia may be very evident and
explicit li)e in "ra;il or more diffuse and implicit li)e in "lade .unner. The
most extreme example of paranoia is probably the Thought =olice and the
thoughtcrime concept in $ineteen 1igty8+our. As a result of this fearful
atmosphere, dystopian heroes are not seldom monsters in many respects.
The dehumanisation of society may also be connected to the benefits and
ha:ards of technological progress. Gyberspace cowboys refer to their bodies
as KmeatK and blade runners hunt artificial, but completely sentient beings li)e
animals. #n *ystopia, the borderline of humanity is often blurred and the very
concept of humanity distorted.
Ainally, dystopian stories tend to explore the concept of reality. ;ic) *ec)ard
in "lade .unner is not sure if he is a human being or a bio1mechanical
replica. Gase in $euro!ancer sometimes cannot distinguish cyberspace from
reality. 'inston Smith in $ineteen 1igty8%our is forced to learn that two plus
two ma)e five. #n many dystopian tales the people in general and the heroes
in particular get manipulated beyond reality.
Aesthetics
*ystopian stories fre!uently ta)e place in landscapes which diminish people,
li)e large cities with mastodontic architecture or vast wastelands devastated
by war and pollution. *ystopian societies are usually, but far from always,
battered and worn1out. They may be colorless li)e $ineteen 1igty8%our or
)aleidoscopic li)e "lade .unner, but always visually obtrusive.
Aor uncertain reasons, dystopian movies often use film noir features li)e dim
rooms, rain wet asphalt, disturbing contrasts, symbolic shadows etc.
8nproportionaly much of the action ta)es place during night in many
dystopian stories. =ossibly, this reflects the thematic relationship between
dystopian fiction and film noir.
4enerally spea)ing, the environment plays an active role in dystopian
depictions. The environment is not only a fancy bac)ground, but emphasises
the message. A prominent example is %lade ;unner5 there can be no doubt in
the viewer that 8SA has become completely commercialised and that the
world is in a state of terminal decay.
# receive lots of recommendations from visitors, which is much appreciated.
#ndeed, many a new dystopia has come to my attention. Luite a few dystopias
have a tendency to reappear, though. Thus, # thought it could be
advantageous to add a list of all dystopian depictions #0m already aware of.
# have received !uite a few somewhat confused letters concerning this list, so
a couple of clarifications might be in order.
E
A ma"ority of the wor)s in the list are not true dystopias, by any definition.
This list should not be regarded as the ultimate list of dystopias, but rather
as a smorgasbord of wor)s containing dystopian elements.
Although one can claim that every utopia is a relative dystopia, only
utopias with clearly dystopian tendencies, e.g. the meritocracy and
eugenics in =lato0s 'e .epu<lic, are included. 'ithout this limitation, the
list loses its raison d0Mtre.
(any, and # stress many, of the wor)s in the list are recommendations
from ,xploring *ystopia0s visitors. &eedless to say, # can0t examine all
these recommendations thoroughly, and some of them are bound to be
!uestionable.
The instrumental definition for this list, as well as the whole site, can be
found on the *ystopia5 definition page. =lease read this definition before
you ma)e a recommendation or !uestion a wor) on the list.
Ainally, # don0t lay claim to present a complete list, so recommendations and
corrections are most welcome. Titles mar)ed with an asteris) (N) are dystopias
# have never actually read or seen, but which # have found in other lists or
been recommended by visitors. #n most cases, # have at least a vague idea of
the intrigues and settings.
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)ac*ground *no.ledge of different dystopias
.
/here do A0level students study dystopic novels1
Gurrent exam. specifications outline the course re!uirements, content and
these dystopic themes5
A2A pecification A for A3 E%amination
The areas of fiction set in dystopias are in extrapolation of contemporary
themes of crime into future settings.
(nit 4 0 Literary $onnections
(> texts compared5 at least - prose)
Three areas are set for a choice of study5
3iterary Themes (/istory in 3iterature or A 'omans Struggle)
Time and "lace 56isions of the +uture7
'ays of Telling (;eflections or (inds under Stress)
Time and "lace
,#T/,; Cisions of the Auture
;iddley 'al)er O ;ussell /oban (=icador) and
A Gloc)wor) +range O Anthony %urgess (=enguin Glassics)
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-?
/hat should A0level students be learning through dystopic novel study1
Students should develop informed, critical and personal readings of literary
texts. The curriculum remains focused on a notion of a literary canon. Three
principles underpin what is meant by informed, critical and personal readings
"ersonal readings
Students Pwill give individual interpretations of the novels meaning, not
passive, second hand opinions
Students will bring )nowledge of the origins of the dystopic settings and
themes (e.g. Stalinism in Animal Aarm) echoed in the text in order to
interpret its messages or satire
$ritical readings
Students will reflect upon how their own >-
st
century interpretations may
differ form contemporary readings by comparing historical and social
difference
Students will show )nowledge gained from peripheral historical and social
study that may not be instantly accessible< this )nowledge may be different
on different occasions and may change when assumptions through
discussion
Students will show understanding of multiple meanings from different
readings of a text that can co1exist and are complex
Informed readings of literature in conte%t
Students will use )nowledge of cultural and historical influences in which
literary texts are written and are understood. They will ac)nowledge and
balance their understanding of a texts cultural origins
At A> students readings should be informed enough to e#aluate te
signi+icance of relevant cultural and historical influences. So they might show
they )now how a dystopic text, such as A Gloc)wor) +range indicates
the significance of crime, culture, social conditioning and punishment in
constructing the social order of the late -.H?s2early -.I?s
Anthony %urgesss experiences of crime and his wifes in"uries after a
criminal attac)
pivotal episodes in the novel that develop the characters through literary
language (narrative and dialogic voices)
how the novel is received in the >-
st
Gentury, and how it may have been
received in the -.I?s. This may recogni:e different views on social order
and conformity< these will show awareness of different literary critical
perspectives (e.g. Areudian and =avlovian interpretations of behaviour).
#n all this study students should become independent readers, with an
emphasis on their being able to explain their interpretations and support them
with close internal textual reference and with informed thin)ing from other
critical sources, be that literary criticism, historical )nowledge and2or cultural
)nowledge.
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)ac*ground .or* to intoduce .or*ing .ith a dystopic novel
at A3
(nit 4 0 Literary $onnections
Time and "lace
Cisions of the Auture
Anthony %urgesss A Gloc)wor) +range
Introduction
A Clockwork Orange (-.I>) provides a still blea) vision of a violence1ridden
future. #t shadows one murderous, %eethoven1loving fifteen1year1old gang
leader Alex in a complacent and conformist society. ;oving bands of
delin!uents fight, steal and rape to assert their freedom against the conformity
of a cloc)wor) society. #t is the classic tale of a grim and
terrifying future told through the eyes of Alex.
'ritten in a first person narrative of Alex the fifteen year
old boy and leader of a gang, his *roogs. /e and most of
his gang members spea) in an argot that %urgess
himself created, basing it most of of ;ussian words. This
artificial language owes much to %urgess0s uninhibited
experimentation with language.
Strong themes of A Gloc)wor) +range are manipulation
and control< these are part of its cultural context. Anthony
%urgess comments on the changes he saw ta)ing place
in -.I?s %ritain. /e wrote the first draft in -.I?, when he
was diagnosed with a brain tumour and told he only had a year to live. *uring
this time, he wrote five and a half novels, wor)ing under a self1imposed
discipline of >,??? words per day. A Gloc)wor) +range was the half novel.
/aving survived the year0s notice, %urgess came bac) to it, determined to
complete the visionary boo). /e was interested in the cultural changes ta)ing
place around him5 the advent of coffee shops, the influence of pop music and
the emerging power of teenage gangs.
/e focuses on a time in the -.D?s when teenage violence was a recognised
social problem, forcing the government to turn to techni!ues of negative
reinforcement (conditioning2brainwashing).
#n -.I-, he went on holiday to ;ussia, when it occurred to him to create a
language that would be a mixture of ;ussian and ,nglish, li)e a ;ed S!uare
meets Sha)espeare and (ods rhyming slang. /e called it nadsat5 %urgess0s
;ussianised ,nglish slang2argot was to be used by teenagers 1 a phonetically
en"oyable dialect, perhaps the neologism of the future, much li)e +rwell0s
&ewspea) in -.E@. 'ith words li)e horrowshow (good), slovos (words), rot
(mouth), :oobies (teeth), cancers (cigarettes), gulliver (head), guttiwuts
(stomach) and pretty polly (money) 1 you can begin to see the different types
of language that %urgess has drawn upon.
=ossibly the most ironic is the word %og for 4od, where the repetition of the
consonant 42g can still be heard. The status of being a proper noun is
preserved, but contempt is created through the meaning and associations we
have with the word KbogK, only increased through such an apparent
relationship with the original term.
&ot surprisingly the name of the narrator is significant in terms of its
derivation5 a1lex means without, or outside of, the law. This provides a useful
insight into %urgess0s success. /e subverts what we already )now. /e ma)es
us refer to what we )now to be the truth and !uestions it, practising the
techni!ue on us 1 we become =avlov0s dogs.
+ne significant example from early in the boo) has Alex and his droogs
(fellow gang members) tease, rape and attac) a couple in their home. This
happens in Ghapter > when Alex is only -H years old but, importantly, at a
point for the reader when nadsat is still relatively new. # read this passage with
my students and what we found resulted in a very interesting discussion. #t
was not the nadsat use that was shoc)ing or seemed to be reflecting the
violence ta)ing place, it was the use of Standard ,nglish. There seemed to be
a number of reasons for this, reasons %urgess presumably intended to
intellectually engage the audience in such a way that Alex could not be too
alien.
#nitially the readers are passive observers, not participant to the rape. %ut,
when they come across phrases in Standard ,nglish and realise what is
actually ta)ing place, they feel shoc), but not enough to stop reading,
because they are then waiting for the next piece of Standard ,nglish 1 our
shared language 1 as though completing a pu::le.
8nsurprisingly a frightening element is the fact that the reader also becomes
aware, and not at any specific place, that they have understood the nadsat.
'e loo)ed through and tried to identify the exact place 1 but could not.
#mpactJ 'e relate to Alex< we understand his language< he is not alien. Qou
can see why %urgess was so furious when the original American edition
carried a glossary. As a group, we discussed in detail the impact this would
have on the reader and how it would change your whole relationship with the
boo), most especially with Alex. 'ith a glossary, you don0t trust your own
understanding of words in their context.
3oo)ing up words in a glossary would ac)nowledge that Alex spea)s in
another language 1 his rebellious teenage Argot 1 rather than an exiting
culmination of a distortion of different languages, word meanings, slang and
historicism. Alex refers to his friends as K+ my brothersK and dresses in
apparel that would place him comfortably in court during the time of
Sha)espeare and (arlowe.
The brutality depicted in A Clockwork Orange emerged after an assault on
%urgess0s first wife 3ynne in -.@F by American 4#0s in 3ondon, that resulted in
the loss of their expected child. The movie version of the novel, directed by
Stanley Bubric) in -.D-, encountered heavy criticism 1 some of its violent
scenes were said to have inspired real1life violence by gangs of hoodlums 1
and was eventually withdrawn by its producers and distributors.
The film Gonspiracy in which &a:i officials meet to decide the fate of $ews
refers to it as cleansing. Another example of extremist euphemism is +rwell0s
vision of thought police. (any other such euphemisms exist in literature and
their ironic impact can be slow to wor) on a reader but devastatingly corrosive
of our sensitivities, replicating the conditioning portrayed in the novel.
Alex0s cure in the boo) is reclamation treatment, which involves being
drugged, having his eyelids taped open, %eethoven playing (the music he
loves to daydream violence to) and being made to watch violent scenes over
and over again. /e then begins to associate violence with being sic). The
wonderful irony of this is that he cannot even contemplate suicide. /e goes to
the library in search of ways to )ill himself but cannot stomach the violence.
/e turns to the %ible for solace and comfort but is sic) at the violence he finds
there.
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A note on names
,eaning assigned to the name 8A $loc*.or* !range8
%urgess wrote that the title came from an old Goc)ney expression KAs !ueer
Ri.e. strangeS as a cloc)wor) orangeK, but that he had found that other people
read new meanings into it.
Some have found a secondary meaning of an organic entity, full of "uice and
sweetness and agreeable odour, being turned into an automaton. The youth
of (alaysia, where # had lived for nearly six years, saw that orange contained
orang, meaning in (alay a human being. #n #taly, where the boo) became
Arancia all) Orologeria, it was assumed that the title referred to a grenade, an
alternative to the tic)ing pineapple.
(Arom the prefatory note to A #loc$%or$ &range2 A play %ith music,
Gentury /utchinson 3td., -.ED)
The Name of the main character9 Ale%
The name of the antihero is Alex, short for Alexander, which means 0defender
of men0. Ale7 has other connotations 1 a le75 a law (unto himself)< a le7(is)5 a
vocabulary (of his own)< a (4ree)) le75 without a law. &ovelists tend to give
close attention to the names they attach to their characters. Ale7 is a rich and
noble name, and # intended its possessor to be sympathetic, pitiable, and
insidiously identifiable with us, as opposed to them.
99999999999999999999999999 o + o 9999999999999999999999999
)rief synopsis for classroom use
Set a few years in the future, the boo) follows the career of fifteen year old
Alex. /is main pleasures in life are classical music, sex of all )inds, and
random acts of extreme violence (KultraviolenceK in Alex0s idiom). /e tells his
story in a teenage slang called K&adsatK, which mixes ;ussian with ,nglish
slang.
,ventually Alex is caught and KrehabilitatedK by a program of aversion
therapy, which, though rendering him incapable of violence (even in self1
defence), also ma)es him unable to en"oy his favourite classical music as an
unintended side effect.
The moral !uestion of the boo) is that Alex is now KgoodK, but his ability to
choose this has been ta)en away from him< his KgoodnessK is as artificial as
the cloc)wor) orange of the title.
,ventually Alex falls foul of some of his former victims, and the political fuss
that ensues results in the state removing his conditioning< he gleefully returns
to his early habits but finds he has lost the taste for it. The >?th chapter ends
the original American edition on a dar) note, with Alex listening "oyfully to
%eethoven0s &inth Symphony, and eagerly anticipating his return to creating
havoc.
At this point some editions of the boo) end, but there is a >-st chapter which
was dropped at the time of 8S publication. %urgess claims that the original
American publisher dropped his final chapter in an effort to ma)e the boo)
more depressing. The intended boo) was divided into three parts of D
chapters each, which added up to be >-, a symbolic age at which a child
earns his rights (when the novel was written). There is controversy as to
whether the >-st chapter ma)es the boo) better or ma)es the boo) worse. #n
the >-st chapter, which ta)es place a few years after the >?th, we find Alex
realising that his violent phase is over, but that it was inevitable.
A few of the old characters are reincarnated as new friends of Alex. /e thin)s
of starting a family, while thin)ing that his children will be as violent as he was,
for a time. The line K'hat0s it going to be then, ehJK recurs throughout the
boo), and the first chapter of each of the three parts begins with the line.