Tag: A Clockwork Orange

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Not merely the validity of experience, but the very existence of external reality was tacitly denied by their philosophy. — George Orwell, 1984

American college students have said, ‘Like 1984, man’, when asked not to smoke pot in the classroom or advised gently to do a little reading. — Anthony Burgess, 1985

I made a half-hearted New Year’s resolution not to mention Orwell’s 1984 this year, not once. Like most of these Janus-faced pledges, however, it didn’t last long. But hasn’t the book been over-visited? (more…)

Are they the future?

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Part 8 of 8 (Part 1 here, Part 7 here)

There is joy in danger. — Napoleon

Psychopathy seems like the epitome of evil. As we’ll see, however, one characteristic of psychopathy is associated with at least one virtue.

Psychopathy can’t be cured; it can only be managed. Perhaps John Calvin had psychopaths in mind when he developed his theory of predestination: God chooses some for salvation rather than others. (more…)

Alex DeLarge in A Clockwork Orange is a psychopath with antisocial personality disorder.

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Part 1 of 8 (Part 2 here)

Greg Johnson asked me to write a brief guide to help women spot psychopaths. He made this request after reading something I wrote on how murderer Brian Laundrie displayed several behaviors common among psychopaths. I can’t be brief on the subject, though, because psychopathy is associated with many behaviors and traits. (more…)

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For years now, readers have been urging me to review Stanley Kubrick’s A Clockwork Orange (1971), which adapts Anthony Burgess’ 1962 novel of the same name. I have resisted, because although A Clockwork Orange is often hailed as a classic, I thought it was dumb, distasteful, and highly overrated, so I didn’t want to watch it again. But I had first watched it decades ago. (more…)

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Co-hosts Fróði Midjord and Jonas De Geer were joined by Counter-Currents Book Editor John Morgan for today’s broadcast, which commemorated two recent anniversaries: (more…)

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Dave Wallis
Only Lovers Left Alive
London: Anthony Blond, 1964
Richmond, Va.: Valancourt, 2015

“In those days, before the death of the last square . . .”

At some point, I suppose with Anthony Burgess’ A Clockwork Orange,[1] the “youth in trouble” genre, already fairly exploitative beneath its standard moralistic framework,[2] mutated into a “cult of youth” format, (more…)

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Part 2 of 2

Bill Hopkins

3. “The corrupt vigour of fascism.”

In early 1958, Time magazine ran a humorous squib titled “Sloane Square Stomp.”[9] It told how Colin Wilson (and presumably Bill) had attended a premiere of their friend Stuart Holroyd’s new play at the Royal Court Theatre. Bill and Colin’s onetime friend Christopher Logue stood up in the stalls with Kenneth Tynan, denouncing Holroyd and Wilson as fascists. During the interval, this led to a shoving match in a nearby bar. The whole thing was a tempest in a teapot, (more…)

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Editor’s Note: 

The following text is a transcription by V. S. of a lecture entitled “Léon Degrelle and the Real Tintin,” delivered at the 21st meeting of the New Right, London, June 13, 2009. The lecture can be viewed on YouTube here. (Please post any corrections as comments below.)

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Anthony Burgess
A Clockwork Orange
New York: W. W. Norton & Co., 1962

A Clockwork Orange is a short novella produced by Anthony Burgess in a very short period of time—yet the author had doubtless dwelt upon an entire zoology before producing it. One of the book’s characteristics, which even the most casual reader notices, is the experimental language or deliberate argot that Burgess develops for his retinue of juvenile delinquents. (more…)