Ivana Luki

Dystopia in Contemporary English Literature

May 30, 2016

Destruction and Violence in Burgess' Society of A Clockwork Orange

The Futurism officially started in 1909, in the era of industrial revolution, when F.T.
Marinetti declared his eleven principles which were set as clear guidelines for young people
from his circle to follow. The philosophy of movement might not seem so dangerous at first,
but seeing it at work completely changes the perspective: what seemed amusing and brave in
the beginning becomes horrifying in the blink of an eye while reading Anthony Burgess A
Clockwork Orange. His characters are the real embodiment of futurism which expresses loath
for past and traditional art, as well as contempt for old age and women, but praises revolt,
energy, aggression, and violence.
Burgess describes the life of a teenage boy Alex and his droogs (friends). They are
group of four, who find their way out of boredom spending nights using drugs in Korova
Milkbar and performing violent acts on innocent people: beating, raping and destroying their
property. They operate during the night, easily molesting people and escaping from the police.
Their first act of violence that is described in the book is the assault on the old man
(...) a doddery starry schoolmaster type veck, glasses on and his rot open to the cold nochy
air. He had books under his arm and a crappy umbrella and was coming round the corner
from the Public Biblio (Burgess, 8). It is not hard to guess how this episode ends: the gang
brutally beats the old guy up and tears his precious books. It is an obvious allusion to

futuristic intentions to destroy libraries and museums and to deliver Italy from its gangrene
of professors, of archaeologists, of guides, and of antiquarians. Marinetti states that
museums are cemeteries and that traditional art causes people to rot. Therefore, it should be
destroyed. According to him, every masterpiece should be aggressive, and violent. This
statement is again connected to the novel, whose characters vandalize art and even if it has not
had aggressive character in the beginning, it is easily attributed with it later. Alexs way of
vandalizing art is listening to the classical music while performing ultra violent acts. Other
people simply destroy paintings, such as that one hanging in the Alexs building.
The act of beating a doddery starry schoolmaster type veck (Burgess, 8) is not only a
revolt against culture but also against old people whom they dislike and disrespect. The
youths from the book are trying so hard to separate themselves from their elders. They wear
different clothes and they have even adopted a new language. Besides this visual
distinctiveness, Alex also does not have problems to openly express his contempt of old
people I could never stand to see a moodge all filthyand rolling and burping and drunk,
whatever his age might be, but more especially when he was real starry like this one was
(Burgess, 12). Marinetti in his Futurist Manifesto shows equal rejection of old age When we
are forty, let those younger and more valiant than we kindly throw us into the waste basket
like useless manuscripts! Both Alex and Marinetti dislike old people because of the energy
of the youngs they lack. Marinetti describes them as unable to squander great treasures of
energy, of love, of courage and eager will, hastily, deliriously, countlessly, breathlessly, with
both hands. Futurists also show fierce hatred toward women. They want to glorify the scorn
of woman and fight against feminism and all opportunistic and utilitarian cowardices.
Alex shows the equal amount of scorn for women. The thought of raping comes first to his
mind when he sees one. So huge is his contempt that he is capable of performing such an act
on two ten year old girls.

Except this feverish urge to terminate with the old principles, to humiliate women and
old people, there is something even more disgusting in the futuristic world: people enjoy
harming other people. Alex himself is almost in the state of ecstasy while picturesquely
describing his violent acts (...) it was real satisfaction to me to waltz - left two three, right
two three - and carve left cheeky and right cheeky, so that like two curtains of blood seemed
to pour out at the same time () (Burgess, 14). He is also easily fascinated then out comes
the blood, my brothers, real beautiful. (Burgess, 9). He and his friends find pleasure in
violent acts that represent some kind of fun and game for them. They often laugh their
gullivers off (Burgess, 16). Between these ultra-violent, amusing acts of beating and raping,
the group enjoys one part of the night in a stolen, speeding car that grumbles away real
horrorshow, a nice warm vibraty feeling grumbling all through your guttiwuts (Burgess, 15).
The picture of Alex and his friends rushing in a car, driving recklessly, headed for another
fight and laughing their heads off is a sight that brings the spirit of futurism. Futurists also
praise the love of danger, the habit of danger(...)the aggressive gesture, the feverish
insomnia, the athletic step, the perilous leap, the box on the ear, and the fisticuff.
The aim of this essay was to show in which way Burgess characters are the true
embodiment of futuristic principles. Alex and his friends are young people who exalt
aggressive behavior, speed, energy and revolt. The main objects on which they perform their
violent acts are women, old people, and traditional culture. Burgess wrote a real masterpiece,
cleverly incorporating futuristic elements into his work.

Work cited

Burgess, A. A Clockwork Orange. PDF file

Marinetti, F., T. The Futurist Manifesto.
http://www.english.upenn.edu/~jenglish/English104/marinetti.html