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S'està carregant… La taronja mecànica (1962)de Anthony Burgess
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La naranja mecánica cuenta la historia del nadsat-adolescente Alex y sus tres drugos-amigos en un mundo de crueldad y destrucción. Alex tiene los principales atributos humanos: amor a la agresión, amor al lenguaje, amor a la belleza. Pero es joven y no ha entendido aún la verdadera importancia de la libertad, la que disfruta de un modo violento. En cierto sentido vive en el Edén, y sólo cuando cae (como en verdad le ocurre, desde una ventana) parece capaz de llegar a transformarse en un verdadero ser humano. I speak Polish and once learned a bit of Russian, so I had no trouble understanding nadsat for the most part. The point of it, I think, is to anchor Alex’s youth, what with each generation having its own slang that the generations before and after struggle to understand. Although you’re led to empathise with Alex a great deal, the degree of separation nadsat maintains is greater than the reader being real and Alex being a fictional character; I truly got the feeling, at the end, of being immersed in the reading of the memoir of a real person much younger than myself, me only being 22. I felt the generational rift between us! If there are any reader surrogates in this book, they’re the political types who take to imposing their ideas about themes onto our humble narrator. I even found nadsat infectious, as slang often is, suddenly thinking of what Netflix series I should viddy and how I’d keep my rookers warm in this grahzny bastard winter. Drives my ptitsa bezoomny, all but scratching her gulliver. 4.25/5 Anthony Burgess escribió su distopía atemporal “La naranja mecánica” (1962), después de dos eventos determinantes: un doctor le diagnosticó por error un tumor terminal. Además, su esposa embarazada sufrió un altercado violento con militares en las calles de Londres. Ante tales circunstancias, pensó en lo mejor que podía hacer: aprovechar el tiempo. Desarrolló la historia de Alex, un joven violento y amante de la música de Beethoven; gusta de beber leche alterada con su pandilla antes de ejercer lo que ellos llaman la “ultraviolencia”. Alex le habla al lector directamente, describiendo primero las atrocidades cometidas, como violaciones, robos y peleas con otras bandas; más adelante, narra sobre el radical y revolucionario tratamiento al que se verá sometido para “curar” su naturaleza violenta. Será en el epílogo, (ese famoso capítulo 21 que se suprimió en la primera versión publicada en Norteamérica) en donde el autor impregne de esperanza a su obra. Para Burgess, cualquier delincuente tiene la capacidad de redimirse o, como en el caso de su protagonista, de sentirse aburrido de la existencia nihilista y pasar irremediablemente a la posterior madurez. Es triste y desconcertante, pero la novela es menos conocida y valorada que la película de Kubrick, a pesar de lo diferentes que resultan en su esencia. En la narración literaria, Burgess se da el lujo de crear un dialecto “rusificado” del inglés llamado Nadsat, lo que provoca una experiencia lingüística impredecible y emocionante. Las detalladas descripciones de los actos violentos que cometen Alex y sus drugos, son sólo el comienzo de un descenso a la introspección psicológica de un personaje tan enigmático como infame. El discurso de “La naranja mecánica” es brutalmente actual, una mezcla distópica de psicoanálisis, delincuencia juvenil, corrupción y tecnología. Al final, Burgess no perdía la fe en la naturaleza humana, a diferencia de Kubrick. A true tale of what untethered youth can do, and would do. Ego's everywhere. Nadsat is great.
Mr. Burgess, whenever we remeet him in a literary setting, seems to be standing kneedeep in the shavings of new methods, grimed with the metallic filings of bright ideas. A Clockwork Orange, for example, was a book which no one could take seriously for what was supposed to happen in it-its plot and "meaning" were the merest pretenses-but which contained a number of lively notions, as when his delinquents use Russian slang and become murderous on Mozart and Beethoven. In a work by Burgess nothing is connected necessarily or organically with anything else but is strung together with wires and pulleys as we go. Burgess’s 1962 novel is set in a vaguely Socialist future (roughly, the late seventies or early eighties)—a dreary, routinized England that roving gangs of teenage thugs terrorize at night. In perceiving the amoral destructive potential of youth gangs, Burgess’s ironic fable differs from Orwell’s 1984 in a way that already seems prophetically accurate. The novel is narrated by the leader of one of these gangs-—Alex, a conscienceless schoolboy sadist—and, in a witty, extraordinarily sustained literary conceit, narrated in his own slang (Nadsat, the teenagers’ special dialect). The book is a fast read; Burgess, a composer turned novelist, has an ebullient, musical sense of language, and you pick up the meanings of the strange words as the prose rhythms speed you along. A Clockwork Orange, the book for which Burgess — to his understandable dismay — is best known. A handy transitional primer for anyone learning Russian, in other respects it is a bit thin. Burgess makes a good ethical point when he says that the state has no right to extirpate the impulse towards violence. But it is hard to see why he is so determined to link the impulse towards violence with the aesthetic impulse, unless he suffers, as so many other writers do, from the delusion that the arts are really rather a dangerous occupation. Presumably the connection in the hero’s head between mayhem and music was what led Stanley Kubrick to find the text such an inspiration. Hence the world was regaled with profound images of Malcolm McDowell jumping up and down on people’s chests to the accompaniment of an invisible orchestra. It is a moot point whether Burgess is saying much about human psychology when he so connects the destructive element with the creative impulse. What is certain is that he is not saying much about politics. Nothing in A Clockwork Orange is very fully worked out. There is only half a paragraph of blurred hints to tell you why the young marauders speak a mixture of English and Russian. Has Britain been invaded recently? Apparently not. Something called ‘propaganda’, presumably of the left-wing variety, is vaguely gestured towards as being responsible for this hybrid speech. But even when we leave the possible causes aside, and just examine the language itself, how could so basic a word as ‘thing’ have been replaced by the Russian word without other, equally basic, words being replaced as well? But all in all, “A Clockwork Orange” is a tour-de-force in nastiness, an inventive primer in total violence, a savage satire on the distortions of the single and collective minds. In A Clockwork Orange, Anthony Burgess has written what looks like a nasty little shocker but is really that rare thing in English letters—a philosophical novel. The point may be overlooked because the hero, a teen-age monster, tells all about everything in nadsat, a weird argot that seems to be all his own. Nadsat is neither gibberish nor a Joycean exercise. It serves to put Alex where he belongs—half in and half out of the human race. Pertany a aquestes col·leccions editorialsContingut aTé l'adaptacióAbreujat aHa inspiratTé un estudiUn' arancia panlinguistica: espressione, comunicazione e gioco in A clockwork orange di Anthony Burgess e nella sua traduzione italiana de Carla Sassi Té un comentari al textTé una guia d'estudi per a estudiants
Told through a central character, Alex, the disturbing novel creates an alarming futuristic vision of violence, high technology, and authoritarianism. A modern classic of youthful violence and social redemption set in a dismal dystopia whereby a juvenile deliquent undergoes state-sponsored psychological rehabilitation for his aberrant behavior. No s'han trobat descripcions de biblioteca. |
Cobertes populars
![]() GèneresClassificació Decimal de Dewey (DDC)823.914 — Literature English {except North American} English fiction Modern Period 1901-1999 1945-1999LCC (Clas. Bibl. Congrés EUA)ValoracióMitjana:![]()
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