Clockwork Orange Fruit Machine
Your Humble Blogger has been govoreeting at his ptitsa and all his droogs about a bezoomny, horrorshow book he’s been viddying from the Public Biblio, A Clockwork Orange, that is all about filthy malchicks razrezzing like clothes off boo-hooing little devochkas for the old in-out-in-out, getting down to a malenky bit of ultra-violence, carving litsos with a cut-throat britva, and like tolchocking old vecks very square in their like bloody rots, all before slooshying the sirens of the millicents and the leader being tolchocked very rough and skorry into the millicent auto and dragged creeching to the Staja. I viddy, my brothers, that the book is like about a juicy veck with a plott and gulliver being made to be a like clockwork orange; little chellovecks becoming vecks; and the world round and round and round, turning, and sons not being able to stop their sons from doing all the veshches they had done, and all that cal.
A Clockwork Orange is a 1971 dystopian crime film adapted, produced, and directed by Stanley Kubrick, based on Anthony Burgess's 1962 novel of the same name.It employs disturbing, violent images to comment on psychiatry, juvenile delinquency, youth gangs, and other social, political, and economic subjects in a dystopian near-future Britain. Alex (Malcolm McDowell), the central character, is a. UK ARCADES FRUIT MACHINE SESSION CLOCKWORK ORANGES 75JP CONVERTED 2 5JP wow a new machine in Weston super mare well actually not though cause its just the cl.
Yes, the whole book reads that way.
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There are two things that really intrigued me about Anthony Burgess’s A Clockwork Orange: the central symbol (see title) and the structure (with all its human and superhuman implications).
First, the central symbol: a clockwork orange. It took me a little bit to understand what it meant. Of course, the novel makes it pretty clear at certain points, but without cracking the book we can make some sense of it. An orange is colorful, juicy, organic. Clockwork is an adjective meaning predictable, mechanical, routine. A clockwork orange, then, is a living, bleeding fruit that, paradoxically and tragically, behaves like a machine — like clockwork. In the story, the government puts the narrator, Alex, through a Pavlovian, reflex conditioning program designed to rid him of evil. Alex is conditioned to become ill when he intends violence or hears music that he accidentally comes to associate with violence. Alex is the clockwork orange. The fear — nurtured by the novel’s libertarian activists — is that each of us is capable of being made a clockwork orange, and that the government could thus institute a tyranny over morals.
In the end, Alex connects the world itself to the symbol. He comes to realize that the young have to learn hard lessons on their own before they can grow up. They have to come of age, so to speak. They cannot truly learn the lessons their parents try to teach. They must learn from experience. As a result, we are doomed to make the same mistakes our fathers made. We are condemned to repeat their brutal acts of violence. It’s an endless cycle: We make the same childish mistakes our father’s made before they grew up, our children repeat them, and their children and grandchildren do the same. The world is this big, organic being, but the behavior of human kind on top of it is predictable and inevitable — a clockwork orange. Yes, it’s depressing.
Second, the structure caught my attention. This idea that we have to come of age on our own is connected to the structure. There are 21 chapters, and Burgess himself admitted that he targeted 21 because it is an age at which we can say adulthood has arrived. More interestingly, it is broken into three parts. We former English majors are all trained to perk up at the number 3. It is an indication that there will be some statement on Christianity, some implication for the trinity — or at the very least, the story will make use of our religious understanding. In fact, the first section of the book is filled with Old Testament-style violence. (The narrator later admires violence in the Big Book, as he calls it.) Alex and his “droogs” run amok in the fallen world of an Old Testament, Christian God. This is the Father. Then in the second section, Alex is arrested and conditioned to behave like a good Christian. He learns to associate ultra violence, misogyny, and even heightened emotion with a horrible sickness in the pit of his stomach. This is the Son and his teaching. Finally, in the third section, Alex is guided by his desire to avoid the sickness — self-interestedly, of course. When he intends to behave violently, he is stopped in his tracks by fear of sickness. He is beneficent, but only to protect himself. This is the Holy Spirit guiding God-fearing men away from damnation.
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This triad — falleness, Pavlovian conditioning, and self-interested beneficence — is either Burgess’s statement on Christianity, or simply his statement on human nature couched in the familiar Christian modality. In the first interpretation, religion and fear of damnation guide the young until they are mature enough to choose good over evil on their own. In the second interpretation, authority and fear of punishment guide the young until they are mature enough to choose good over evil on their own. In either case, Burgess holds out hope that even the worst of us is capable of good. But only experience and the literal, biological coming of age — as Alex finds in the final chapter — brings genuine redemption.