A Clockwork Orange affected me deeply when I first absorbed it, on the recommendation of my older sister, in middle school. It affected me again, when I watched Stanley Kubrick's movie adaptation of it, several months later. It was absolutely haunting and disgusting, and for a time it was my favorite novel–I couldn't put it down, and the characters were so unlike anything I could ever find in reality and the situations so unreal, and I spent hours annotating the book trying to figure out what the words meant.
Re-re-reading it, I was not nearly as shocked as I had been the first time Alex was forced to watch videos of bodies run around after their heads had been shot off by Japanese soldiers. This isn't just a result of the information no longer being new: it's that, like the main character, as time has passed I've gotten older, and I daresay a little more calloused. As he matures, Alex loses his proclivity for violence, and I have lost my fascination with the occult. My mistake in reading this novel the first time around is that I assumed that Burgess was going for shock value, that his purpose was to make people sick and write about how bad things in society could get. But really, the novel is not so appalling, and the author's themes are much less superficial than that.
The story is an entirely atypical coming-of-age story. Alex, the anti-hero in a dystopian society, reveals himself to be entirely unreliable and as foolish as any fifteen-year-old boy could be. He is, to put it prosaically, a jerk, and stumbles through a series of improbable situations in which he is abused verbally and physically, and makes bad decisions and justifies them to his audience through self-pity and stereotypical assumptions about himself and those around him. A Clockwork Orange is, basically, a message on morality and the choices we make as humans: it applies to everyone, and the line between good and evil is radically fragmented.
Saturday, March 5, 2011
Blog Entry the 4th: Text-To-Text Connections
A Clockwork Orange does not include many allusions or references, other than seemingly insignificant and esoteric ones: some of which really are, others of which have deeper meaning. For example, the text-to-world connection made when Alex and his friends put on their "maskies": "I had Disraeli, Pete had Elvis Presley, Georgie had Henry VIII and... Dim had Peebee Shelley [sic]" (12). That these particular characters were chosen to be their incognito disguises is genuinely unimportant. Contrastingly, the author makes effective use of metafiction (breaking the fourth wall) on multiple occasions, the first of which is in reference to a book sitting on a desk: "'A CLOCKWORK ORANGE– and I said: 'That's a fair gloopy title. Who ever heard of a clockwork orange?'" (25). This text-to-itself connection is humorous–but a subsequent remark that reads, "[t]o turn a decent young man into a piece of clockwork should not, surely, be seen as any triumph for any government, save one that boasts of its repressiveness" (124) adds deeper meaning to the book's self-reference. Another text-to-text connection made frequently in the novel is Alex's admiration of classical music, viz. Ludwig Van Beethoven. That Alex, who is so outwardly atrocious, also has a soft spot for symphonies gives adds depth to the character and adds humanity to his personality. The author's general avoidance of references serves to alienate the story from any real, existing circumstances, and makes the dystopian setting seem even more particular and unique.
Blog Entry the 3rd: Syntax
• "What I do I do because I like to do" (45).
Burgess's often simplistic syntax and use of repetition reflect the author's youth and simple-mindedness. The short words and lack of punctuation portray the fact that the reader is following Alex along in his mind, not being narrated to by a third-person observer. Beside the fact that this is circular logic, the arrangement of words is that if the reader so wished to read the sentence fifty times over, the words would become confused because of the repetition.
• "Not many viddied what I'd done, and those that viddied cared not" (32).*
The use of inverted word order is a staple trait of Burgess's writing in A Clockwork Orange, which attributes to the vernacular used by the Nadsat teenagers in their dystopian society. The parallel structure visible in this sentence reflects the objectionable insinuation of the words' meaning: that Alex had punched a friend of his, and nobody cared.
• "And so it would itty on to like the end of the world, round and round and round, like some bolshy gigantic like chelloveck, like old Bog Himself... turning and turning and turning a vonny grahzny orange in his gigantic rookers" (127).*
The narration of the story is often told in shorter, even telegraphic sentences; however, when the rhetor is panicked, or when he is trying to portray an significant motif to the reader (even one he does not entirely understand himself), he will switch to longer, winding sentences without abandoning his use of limited vocabulary. Additionally, Burgess uses the word "like" quite often to make Alex seem more like a normal teenager, who is trying to think and talk at the same time. The repetition in this sentence shows the dullness and disillusionment Alex feels.
•Viddied = saw; Itty = go; bolsy gigantic... = large thing;
Bog = God; vonny grahzny = old trashy; rookers = hands.
Burgess's often simplistic syntax and use of repetition reflect the author's youth and simple-mindedness. The short words and lack of punctuation portray the fact that the reader is following Alex along in his mind, not being narrated to by a third-person observer. Beside the fact that this is circular logic, the arrangement of words is that if the reader so wished to read the sentence fifty times over, the words would become confused because of the repetition.
• "Not many viddied what I'd done, and those that viddied cared not" (32).*
The use of inverted word order is a staple trait of Burgess's writing in A Clockwork Orange, which attributes to the vernacular used by the Nadsat teenagers in their dystopian society. The parallel structure visible in this sentence reflects the objectionable insinuation of the words' meaning: that Alex had punched a friend of his, and nobody cared.
• "And so it would itty on to like the end of the world, round and round and round, like some bolshy gigantic like chelloveck, like old Bog Himself... turning and turning and turning a vonny grahzny orange in his gigantic rookers" (127).*
The narration of the story is often told in shorter, even telegraphic sentences; however, when the rhetor is panicked, or when he is trying to portray an significant motif to the reader (even one he does not entirely understand himself), he will switch to longer, winding sentences without abandoning his use of limited vocabulary. Additionally, Burgess uses the word "like" quite often to make Alex seem more like a normal teenager, who is trying to think and talk at the same time. The repetition in this sentence shows the dullness and disillusionment Alex feels.
•Viddied = saw; Itty = go; bolsy gigantic... = large thing;
Bog = God; vonny grahzny = old trashy; rookers = hands.
Blog Entry the 2nd: Diction
Burgess's use of diction in A Clockwork Orange is, to say the least, unique. One cannot read the first page without failing to notice words that are not in any dictionary, bridged or unabridged: a dialect called Nadsat. In the book, this is described as "[odd] bits of rhyming slang... [a] bit of gipsy talk, too. But most of hte roots are Slav. Propaganda. Subliminal penetration" (129). Some words have familiar roots ["Biblio" (7) is library, and "malchicks" (22) are bad teenagers], but others, such as "horrorshow," "devotchka," and "malenky" have to be worked out during the course of the novel in context. The new vocabulary challenges the reader to read more closely, in an engaging manner that isn't excessively involved. The use of Nadsat also contributes to the theme of the generation gap between young and old, and its adverse affects. Adding even further depth to the dialect, Burgess added words of synonymous meaning (such as "bezoomny" and "razdraz," both meaning crazed), and used the same word for different purposes ("horrorshow" can be interpreted as pleasing, violent, exceptional, etc.), much as would be present in any other world language.
Nadsat develops the tone of the piece in a way that, had the novel been confined to only the standard English vocabulary, would not have been as effective and engrossing. This is because the author utilizes his freedom of language to express Alex's feelings and his comments on his surroundings in a distinctive, and oftentimes disturbing, manner. Alex's initial fondness for violence and sexual assault are paradoxically stated quite clearly and implicitly at the same time, when he describes the "red, red krovvy" or the "old in-out in-out." The rhetor's detached tone isn't entirely appreciated until the reader pauses for a moment to fully consider the rather alarming implications, recounted by their "Humble Narrator."
Nadsat develops the tone of the piece in a way that, had the novel been confined to only the standard English vocabulary, would not have been as effective and engrossing. This is because the author utilizes his freedom of language to express Alex's feelings and his comments on his surroundings in a distinctive, and oftentimes disturbing, manner. Alex's initial fondness for violence and sexual assault are paradoxically stated quite clearly and implicitly at the same time, when he describes the "red, red krovvy" or the "old in-out in-out." The rhetor's detached tone isn't entirely appreciated until the reader pauses for a moment to fully consider the rather alarming implications, recounted by their "Humble Narrator."
Blog Entry the 1st: Rhetorical Strategies
• Repetition: "'What's it going to be then, eh?'" (3, and at the beginning of several other chapters).
"'Out out out out!'" (7), "smash smash smash" (13), "right right right" (34) "ringringringing" (41).
• Epithets: "Dim the dim" (12) and "your Faithful Narrator" (46).
• Author's purpose: "But, myself, I couldn't help a bit of disappointment at things as they were those days" (15). "To turn a decent young man into a piece of clockwork should not... be seen as any triumph for any government" (175).
• Parallelism: "Then there was like quiet and we were full of like hate" (27).
• Onomatopoeia: "brrrrrrr brrrrrr" (64), "flip flap" (64)
• Symbolism: "Home... it was home I was wanting, and it was HOME I came to, brothers... I could viddy [see] its name shining white on the gate" (170).
The undertone of the rhetor varies dramatically in A Clockwork Orange, depending on the situation, but the overlying tone is one of disillusionment and purposelessness. The rhetorical strategies employed are largely use in a stream-of-conscious manner, meaning the Alex is thinking them as the plot line progresses... as his emotions change, so do the meanings behind said strategies. The author's tone is effectively communicated through the rhetor's distinctive voice, which employs a wide variety of obscure, seemingly-impromptu diction, and gibberish.
"'Out out out out!'" (7), "smash smash smash" (13), "right right right" (34) "ringringringing" (41).
• Epithets: "Dim the dim" (12) and "your Faithful Narrator" (46).
• Author's purpose: "But, myself, I couldn't help a bit of disappointment at things as they were those days" (15). "To turn a decent young man into a piece of clockwork should not... be seen as any triumph for any government" (175).
• Parallelism: "Then there was like quiet and we were full of like hate" (27).
• Onomatopoeia: "brrrrrrr brrrrrr" (64), "flip flap" (64)
• Symbolism: "Home... it was home I was wanting, and it was HOME I came to, brothers... I could viddy [see] its name shining white on the gate" (170).
The undertone of the rhetor varies dramatically in A Clockwork Orange, depending on the situation, but the overlying tone is one of disillusionment and purposelessness. The rhetorical strategies employed are largely use in a stream-of-conscious manner, meaning the Alex is thinking them as the plot line progresses... as his emotions change, so do the meanings behind said strategies. The author's tone is effectively communicated through the rhetor's distinctive voice, which employs a wide variety of obscure, seemingly-impromptu diction, and gibberish.
Wednesday, January 12, 2011
Blog Entry the 5th: Personal Review
Few of the College Board List's reading material has affected me so deeply as The Great Gatsby, which, before I read in class, I chose to read on the recommendation of my older sister. It was the first book of his I read, and subsequently I became interested in Fiztgerald's earlier works, This Side of Paradise and The Beautiful and the Damned. Fitzgerald is a writer to which many characteristics could be ascribed: he is a hopeless romantic, but not a bumbling or stupid one; he is a creative fictionist with all the stark pragmatism of a textbook writer; he is an alcoholic in a failed marriage, writing for and representing the "Lost Generation," of which he is a prominent member. All these attributes are visible in The Great Gatsby, which is Fitzgerald's fifth and most celebrated novel–celebrated, may I add, wih good reason. The author's wordplay and imagery take the reader far beyond the mere storyline, of a young entrepreneur in the 20s meeting his eccentric next door neighbor and the ensuing affairs. In all honesty, this is not a striking plot. It is Fitzgerald's diction and syntax that make this novel one of such high regard, emphasis, and longevity. Few authors capture the disillusionment of youth and decadence as well as Fitzgerald, who cares not about appeasing his audience with the story of the underdog triumphing the bully, or the hero overcoming the villain. Gatsby is a focus on realism, in comparison with human emotions and expectations. This is an important book, and one that should be encouraged to be read by audiences of all backgrounds and experiences: anyone who has loved, hoped, dreamed, and then fallen short.
Blog Entry the 4th: Text-to-Text Connection
Chapter seven begins as a short time lapse, telling of Gatsby's refusal to throw any more parties: "...the lights in his house failed to go on one Saturday night – and, as obscurely as it had begun, his career as Trimalchio was over" (113). The equally obscure reference to a character in the Roman novel, The Satyricon, had long been a point of interest to Fitzgerald, as revealed through his working titles for The Great Gatsby being both Trimalchio and Trimalchio in West Egg. After being persuaded by his editor and wife that the reference would not be appreciated or pronounced correctly, it was changed to its current title, which Fitzgerald regards as "'only fair, rather bad than good" (Wikipedia article on The Great Gatsby). The allusion to Trimalchio is an equitable comparison to Jay Gatsby, if not a little exaggerated. Trimalchio was a freedman who attained great wealth and power through determination and honest work and used his gains to throw ostentatious, lavish parties. Perhaps Trimalchio's feasts surpass those of Gatsby's, but the intent was the same: to impress and entertain, for no reason other than to prove oneself to their nouveau riche guests, respectively. That Fitzgerald remained unhappy with the title even after its publishing shows that this is a relevant and important text connection, which often goes unnoticed due to its brevity and, in the novel, seeming offhandedness.
Blog Entry the 3rd: Syntax
Although Fitzgerald does not rely heavily on syntax to convey his ideas, the reader can note that the author was deeply affected by his own words as he wrote them by the way they are arranged and ordered. When Nick Carraway first enters Gatsby's house, the narrator takes the reader through the details of the scene he sees in sequential order: "The windows were ajar and gleaming white against the fresh grass outside.... a breeze blew through the room, blew curtains in at one end and out the other like pale flags, twisting them up toward the frosted wedding cake of the ceiling–and then rippled over the wine-colored rug, making a shadow in it as the wind does on the sea" (12). The cumulative order, even in Fitzgerald's remarkably lengthy sentences, allows the reader to better understand the author's airy, relaxed tone. The author also uses syntax in an antonymous manner: when Nick narrates, "In my younger and more vulnerable years my father gave me some advice that I've been turning over in my mind ever since... [paragraph break] 'Whenever you feel like criticizing any one,' he told me, 'just remember that all the people in this world haven't had the advantages that you've had'" (2). The employment of interrupted order and the line break place the rhetor's most important detail at the end and builds interest in the reader. Oftentimes Fitzgerald will give a terse, normally commonplace action a line of its own on the page, which draws attention to it and encourages the reader to envision the action more vividly than if it had just been words mixed among more words, such as when "Myrtle considered" (22) or "Making a short deft movement, Tom Buchanan broke her nose with his open hand" (24). The author's syntax subtly directs the reader's observation from the beginning of one significant event to the next, and is used for a motley of tones, from ebullient to wistful to romantic to dramatic.
Monday, January 10, 2011
Blog Entry the 2nd: Diction
Fitzgerald's diction, filtered through his characters, implies an underlying social commentary on the characters' humanity. When Daisy cries, "'It makes me sad because I've never seen such–such beautiful shirts before'" (92), the author is playing off both the character's frailty and her codependence for happiness on wealth and materialism. Further, when Gatsby is trying to impress Nick by showing him around the house, he remarks, "'I see you're looking at my cuff buttons,'" to which Nick narrates that he "hadn't been looking at them, but [he] did now" (72). The backwards way that Jay gets the narrator to see what he wants him to see suggests, again, that a high value is placed on possessions in their society, and creates a superficial and almost hypocritical tone.
In The Great Gatsby, Fitzgerald occasionally goes off on a seemingly unnecessary tangent to emphasize a point about a character, or the narrator's opinion thereof. When Gatsby claims that he was given a decoration by "little Montenegro" (66), Nick narrates that "[Jay] lifted up the words and nodded at them with his smile. The smile comprehended Montenegro's troubled history and sympathized with the brave struggles of the Montenegrin people. It appreciate fully the chain of national circumstances which had elicited this tribute from Montenegro's warm little heart" (66). This digression from the story line reveals Nick's simultaneous admiration of, jealousy of, and contempt for Gatsby. The ambiguity of his impression is further proven by his saying that his "incredulity was submerged in fascination now" (66). The inclusion of such diction lends comprehensiveness to the characters and develops them as dynamic (or static, depending), whilst incorporating the author's underlying dramatic tone, themes and motifs.
In The Great Gatsby, Fitzgerald occasionally goes off on a seemingly unnecessary tangent to emphasize a point about a character, or the narrator's opinion thereof. When Gatsby claims that he was given a decoration by "little Montenegro" (66), Nick narrates that "[Jay] lifted up the words and nodded at them with his smile. The smile comprehended Montenegro's troubled history and sympathized with the brave struggles of the Montenegrin people. It appreciate fully the chain of national circumstances which had elicited this tribute from Montenegro's warm little heart" (66). This digression from the story line reveals Nick's simultaneous admiration of, jealousy of, and contempt for Gatsby. The ambiguity of his impression is further proven by his saying that his "incredulity was submerged in fascination now" (66). The inclusion of such diction lends comprehensiveness to the characters and develops them as dynamic (or static, depending), whilst incorporating the author's underlying dramatic tone, themes and motifs.
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