

S'està carregant… La taronja mecànica (1962)de Anthony Burgess
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Best Dystopias (9) » 94 més Unread books (28) 501 Must-Read Books (57) Best Crime Fiction (30) Favourite Books (393) 1960s (7) Short and Sweet (30) Metafiction (24) Top Five Books of 2014 (185) Unreliable Narrators (31) Futurism Works (4) Top Five Books of 2016 (631) Books Read in 2020 (1,994) music to my eyes (27) Books Read in 2015 (1,782) Authors from England (39) Books Read in 2014 (1,295) Read (47) United Kingdom (69) Five star books (703) 1,001 BYMRBYD Concensus (140) Books Read in 2011 (11) Folio Society (650) Books I've Read (15) The Greatest Books (74) Allie's Wishlist (1) Libertarian Books (73) Favourite Books (21) To Read (2) Speculative Fiction (13) Fiction For Men (97) Must read (15) Books tagged unread (12) Science Fiction (5) Satire (188) Abuse (39) Teens (7) No hi ha cap discussió a Converses sobre aquesta obra. Oh my Bog, there are so many veshches that I found horrorshow about this book, that I can hardly put it into slovos. Enough nadsat govoreeting now. When I picked up A Clockwork Orange, I only had a faint idea of what I was about to read, having only seen some fragments of the homonymous movie. Quickly I realised I was in for a treat, for this is not a novella about debauchery, murder and rape, yet thinly veiled critique on overbearing governmental control simply set in dystopian a world with ultra-violence. After the second chapter, I wondered how Burgess would be able to maintain the captiveness of the story, but the third and final chapter serves as a great ending to the book. Such a shame I found it to find out that the movie leaves out the very final part, for that contains the beautiful insight the protagonist Alex has in youth, puberty and coming of age. Great book, beautiful - yet strange - language, brilliantly used to describe very explicit brutality without shocking the reader. Amazing work. Is it bad that I like it mostly for the wordplay? The main theme of free will to do evil being an essential part of humanity is interesting too if a tad heavy handedly pushed. Very horrorshow, my droogs. This just blew me away. I have never seen the movie. I had no idea what this was about. I didn't even read the back cover. I knew it was a disturbing movie/book, that's all. I didn't understand a word of the first two pages. I went ahead and kept reading and finally I understood the slang. And the violence! Wow. At least it was couched in all of that slang which kept me distant from it to a certain extent. I can see why ending the book at chapter 20 as they did in the USA would have given the book a different flavor than ending it at chapter 21. Actually, I didn't find chapter 21 believable. I know in the middle of the book I actually started feeling sorry for Our Humble Narrator which was disturbing in itself. Not a world I'd like to live in. Mine is violent enough. Plenty of ideas to think about though and I know, for myself, I'd rather have free will to do wrong than be a clockwork orange. The idea of violence with classical music was interesting. So were all the Soviet undertones in all of that slang. Sehr heftig, extrem brutal, aber auch sehr faszinierend, regt stark zum Nachdenken an. Nadsat, die dem Russischen angelehnte Jugendsprache, die Burgess dem Erzähler in den Mund legt, macht das Buch zu einem ganz speziellen Erlebnis. Leider habe ich nur eine Übersetzung gelesen, nicht das Original, allerdings Blumenbachs Neuübersetzung, bei der offenbar einiges richtig gemacht wurde. Sie enthielt auch diverses Zusatzmaterial und den Epilog, den ich bisher nicht kannte, in dem Alex am Ende erwachsen wird. Definitiv ein geniales Buch, das in die Riege der ganz besonderen Werke gehört, die man wirklich gelesen haben sollte. Nicht zuletzt deshalb, weil man sich als Leser unerwartet in der Position findet, einen brutalen Schläger irgendwie sympathisch zu finden. Eine sehr seltsame Erfahrung. Unbedingt empfehlenswert.
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 estudiTé 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. |
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Maybe someday I'll attempt to read this one again, but there are plenty of others on the NPR list that I've got to get to before that happens. (