In characteristically daring style, Anthony Burgess combines two responses to Orwell's 1984 in one book. The first is a sharp analysis: through dialogues, parodies and essays, Burgess sheds new light on what he called 'an apocalyptic codex of our worst fears', creating a critique that is literature in its own right. Part two is Burgess' own dystopic vision, written in 1978. He skewers both the present and the future, describing a state where industrial disputes and social unrest compete with overwhelming surveillance, security concerns and the dominance of technology to make life a thing to be suffered rather than lived. Together these two works form a unique guide to one of the twentieth century's most talented, imaginative and prescient writers. Several decades later, Burgess' most singular work still stands.

First published in 1974, this novel is a semi-autobiographical reflection on the author’s experience of having been the subject of Stanley Kubrick’s film adaptation of A Clockwork Orange in 1971. This is the end of Enderby, Anthony Burgess’s finest comic creation. Dyspeptic and obese, this is the account of his last day as a visiting professor in New York, and his last day on Earth. The Irwell Edition of The Clockwork Testament will provide new information about the genesis of the novel, gleaned from a series of drafts and typescripts recently discovered in the archive of the International Anthony Burgess Foundation (IABF) in Manchester, as well as printing a deleted chapter for the first time in English. -- .

In Anthony Burgess's influential nightmare vision of the future, where the criminals take over after dark, the story is told by the central character, Alex, a teen who talks in a fantastically inventive slang that evocatively renders his and his friends' intense reaction against their society. Dazzling and transgressive, A Clockwork Orange is a frightening fable about good and evil and the meaning of human freedom. This edition includes the controversial last chapter not published in the first edition, and Burgess's introduction, "A Clockwork Orange Resucked."

Fully restored edition of Anthony Burgess' original text of A Clockwork Orange, with a glossary of the teen slang 'Nadsat', explanatory notes, pages from the original typescript, interviews, articles and reviews Edited by Andrew Biswell With a Foreword by Martin Amis 'It is a horrorshow story ...' Fifteen-year-old Alex likes lashings of ultraviolence. He and his gang of friends rob, kill and rape their way through a nightmarish future, until the State puts a stop to his riotous excesses. But what will his re-education mean? A dystopian horror, a black comedy, an exploration of choice, A Clockwork Orange is also a work of exuberant invention which created a new language for its characters. This critical edition restores the text of the novel as Anthony Burgess originally wrote it, and includes a glossary of the teen slang 'Nadsat', explanatory notes, pages from the original typescript, interviews, articles and reviews, shedding light on the enduring fascination of the novel's 'sweet and juicy criminality'. Anthony Burgess was born in Manchester in 1917 and educated at Xaverian College and Manchester University. He spent six years in the British Army before becoming a schoolmaster and colonial education officer in Malaya and Brunei. After the success of his Malayan Trilogy, he became a full-time writer in 1959. His books have been published all over the world, and they include The Complete Enderby, Nothing Like the Sun, Napoleon Symphony, Tremor of Intent, Earthly Powers and A Dead Man in Deptford. Anthony Burgess died in London in 1993. Andrew Biswell is the Professor of Modern Literature at Manchester Metropolitan University and the Director of the International Anthony Burgess Foundation. His publications include a biography, The Real Life of Anthony Burgess, which won the Portico Prize in 2006. He is currently editing the letters and short stories of Anthony Burgess.

A grand and affectionate tragicomic symphony to Napoleon Bonaparte that teases and reweaves Napoleon's life into a pattern borrowed-in liberty, equality, and fraternity-from Beethoven's Third "Eroica" Symphony, in this rich, exciting, bawdy, and funny novel Anthony Burgess has pulled out all the stops for a virtuoso performance that is literary, historical, and musical.

Puma – disentangled from the three-part structure of The End of the World News and published here for the first time in its intended format – is Anthony Burgess’s lost science fiction novel. Set some way into the future, the story details the crushing of the planet Earth by a heavyweight intruder from a distant galaxy – the dreaded Puma. It is a visceral book about the end of history as man has known it. Despite its apocalyptic theme, its earthquakes and tidal waves, murder and madness, Puma is a gloriously-comic novel, steeped in the rich literary heritage of a world soon to be extinguished and celebrating humanity in all its squalid glory. In Burgess’s hands this meditation on destruction, mitigated by the hope of salvation for a select few, becomes powerful exploration of friendship, violence, literature and science at the end of the world. -- .

Anthony Burgess was an energetic writer and composer, whose work for the stage is widely admired. In Two Plays, we see him tackling major monuments of French and Russian theatre: The Miser by Molière and Chatsky by Alexander Griboyedov. Miser, Miser! is a bold reworking of Molière’s classic comedy of 1668. Harpagon the miser is hoarding a pile of gold, which he has buried in his garden. As he tries to sell off his daughter, catch himself a beautiful young bride and outwit his scheming household of clever servants, the comedy of errors intensifies. Although the original French play is written in prose, Burgess remakes it in a mixture of verse and prose, in the style of his famous adaptation of Cyrano de Bergerac. This translation, discovered in the author’s archive, is the work of a writer at the height of his powers, reinventing Molière for modern audiences. Chatsky, subtitled ‘The Importance of Being Stupid’ is another verse comedy. The theme is that of the intellectual hero who rebels against the smug, philistine society in which he finds himself. First performed in 1833, Griboyedov’s play was so heavily cut by Russian censors that it was barely recognisable. The play is a virtuoso vehicle for male actors, and the source of many famous quotations. It is also notoriously difficult to translate. In Chatsky, Burgess remakes a classic Russian play in the spirit of Oscar Wilde. It is a great feast of language and invective. The complete texts of both plays are published here for the first time. Two Plays confirms Anthony Burgess’s reputation as a gifted writer for the stage, and as a translator of great wit and sophistication. MISER, MISER! CASTING: 7 men, 3 women CHATSKY CASTING: 9 men, 7 women

In this nightmare vision of a not-too-distant future, fifteen-year-old Alex and his three friends rob, rape, torture and murder - for fun. Alex is jailed for his vicious crimes and the State undertakes to reform him - but how and at what cost?

From the acclaimed author of the dystopian classic A Clockwork Orange, The Wanting Seed is an inventive, thought-provoking and darkly absurd novel set in a work rampant with overpopulation. The Wanting Seed is part of our Penguin Essentials series which spotlights the very best of our modern classics. As governments struggle to maintain order in the face of overpopulation and food shortages and homosexuality is glorified in an attempt to further limit family sizes, Tristram Foxe and his wife Beatrice-Joanna find themselves facing dire choices. Their world transforms into a chaos of cannibalistic dining-clubs, fantastic fertility rituals, and wars without anger.

John Anthony Burgess Wilson (1917-93) was an industrious writer. He published over fifty books, thousands of essays and numerous drafts and fragments survive. He predicted many of the struggles and challenges of his own and the following century. His most famous book is A Clockwork Orange (1962), later adapted into a controversial film by Stanley Kubrick. The linguistic innovations of that novel, the strict formal devices used to contain them, and its range of themes are all to be found too in Burgess's poetry, an area of his work where he was at once most free and most experimental. It is his least exposed and most complex and eloquent area of achievement, now revealed at last in all its richness. His flair for words, formal discipline, experimentalism, and fondness for variousness mark every page.

Track Listings
Disc: 1
1 : Flexidisc - AB Discussing Shakespeare for the Book Society (1964)
2 : Tape_0526 - AB Playing Greensleeves (1984)
3 : Tape_0526 - AB Mock Sales Pitch for 'Enderby's Dark Lady' (1984)
4 : Tape_0438a - AB Lecture: 'Can Art Be Immoral?' (1991)
5 : Tape_0685 - AB Playing Piano (1970s-1980s)
6 : Tape_0438a - 'Can Art Be Immoral?' (1991)
7 : Tape_0645 - LB Making List of Desired Translators of 'On Going to Bed' (1982)
8 : Tape_0438a - 'Can Art Be Immoral?' (1991)
9 : Tape_0670 - AB-W Playing Guitar, 44 Rue Grimaldi, Monaco (1980s)
10 : Tape_0438a - 'Can Art Be Immoral?' (1991)
11 : Tape_0625 - AB and LB Lunching at Casa Frollo, Venice, As Seagulls Swoop for the Discarded Tiramisu (1988)
12 : Tape_0438a - 'Can Art Be Immoral?' (1991)
13 : Tape_0100 - AB Rehearsing of Mozart Lecture (1991)
14 : Tape_0685 - AB-W Playing, Possibly the Crumhorn? (1970s-1980s)
15 : Tape_0626 - The Burgess Answering Machine, Monaco (C.1984)
16 : Tape_0642 - AB Discussing the Beatles (1986)
17 : Tape_0656 - AB and LB Piano Duet (Unknown)
18 : Tape_0581 - AB's Nantes Lecture in French (Date?)
19 : Tape_0494 - AB Giving Acceptance Speech for 'A Clockwork Orange' in Sardi's, New York (1972)
20 : Tape_0655 - AB Playing Beethoven's 'Ode to Joy' On His Keyboard (1980s)
21 : Tape_0685 - AB-W Play-acting in French (1970s-1980s)
22 : Tape_0645 - AB and LB Rehearsing a Speech, Referencing Strindberg, Engels, Kafka and Ibsen (1982)
23 : Tape_0367b - LB Reading 'Chatsky' at Home (C1993)
24 : Tape_0526 - AB Mock Sales Pitch for 'Enderby's Dark Lady' (1984)
25 : Tape_0100 - AB Rehearsing of Mozart Lecture (1991)
26 : Tape_0685 - AB-W Playing, Possibly the Crumhorn? (1970s-1980s)
Disc: 2
1 : Mr Burgess Says Writing Is Hard (The Reverend Max Ripple Remix)
2 : Human Being (Vicky Clark Remix)
3 : FFFF (Dinah Bird Remix)
4 : Ode (Alan Dunn & Noisesurfer Remix)
5 : Adjrust (Keiron Piercy & Roy Claire Porter Remix)
6 : Vitrified Exhalations (Mark Vernon Remix)
7 : Tony B's Monstrous Idol (David Birchall Remix)
8 : Janet and Howard Are in the Audience 2019 (Marion Harrison Remix)
9 : Kubrick (Jeff Young Remix)
10 : Whilst His Piano Gently Sleeps (Scanner Remix)
11 : Pronto (Ade Blackburn, Clinic, Paul Sullivan & Static Remix)
12 : Canis Lupus Lupus (Foreign Investment Remix)
13 : Nantes (Tobias Hazan Remix)
14 : Nocturnal Hum (Eye Suriyanon Remix)
15 : Waiting for You (Foreign Investment Remix)
16 : SCORN (Band of Holy Joy, James Stephen Finn & Johnny Brown Remix)
17 : Rue Grimaldi (Chris Watson Remix)
18 : Birds (Guy Marc Hinant & Laszio Umbreit Remix)

Double LP/CD curated by Alan Dunn in collaboration with the International Anthony Burgess Foundation and Sub Rosa. Anthony Burgess's second wife Liana carried a cassette recorder with her at all times to capture her life with the author and their son Andrew. This extraordinarily intimate audio archive of over 1,000 cassettes now sits with the International Anthony Burgess Foundation and artist Alan Dunn has been granted access to select excerpts from it and curate sonic conversations from others. Disc 1 contains the very first and last known recordings of Burgess's voice alongside domestic incidents, rehearsals and answering machine messages, while Disc 2 invites 23 artists and musicians to remix the rare material into a unique Burgess portrait far beyond 'A Clockwork Orange'. Anthony Burgess: Born in Manchester in 1917, Anthony Burgess was educated at Xaverian College in that city and at Manchester University. He served in the army from 1940 to 1946 and as an education officer in Malaya and Brunei from 1954 to 1959. He published more than 50 books (including 'A Clockwork Orange' and his masterpiece, 'Earthly Powers') and composed around 250 musical works. He was created a Commandeur des Arts et des Lettres by President Mitterrand of France and a Commandeur de Mérite Culturel by Prince Rainier of Monaco. He died in London in 1993. His books are still read all over the world. Alan Dunn is an artist and curator based between Liverpool and Leeds, where he is a reader in Art & Design at Leeds Beckett University. His projects have been presented at Tate Britain, ICA, Liverpool Art Prize, BBC Radio and Bluecoat. The International Anthony Burgess Foundation in Manchester is an independent educational charity which encourages public and scholarly interest in all aspects of the life and work of Anthony Burgess.

The Complete Works of Shakespeare contains the recognized canon of the bard’s plays, and his sonnets and poems. The texts were edited by the late Professor Peter Alexander, making it one of the most authoritative editions, recognized the world over for its clarity and scholarship. Described in the Guardian on its first publication in 1951 as ‘a symbol in the history of our national culture’, the Collins edition of the Complete Works of William Shakespeare, edited by the late Professor Peter Alexander, has long been established as one of the most authoritative editions of Shakespeare’s works, and was chosen by the BBC as the basis for its televised cycle of the plays. The book starts with two specially written articles – a biography of Shakespeare by Germaine Greer and a wide-ranging introduction to Shakespeare theatre by the late Anthony Burgess. Each play is also introduced by academics from Glasgow University, where Professor Alexander undertook his editing. New to this edition is an internet resources section, providing details of the most useful Shakespeare websites. In addition, the invaluable glossary of over 2,500 entries explaining the meaning of obsolete words and phrases (complete with line references) has been expanded and redesigned to make it much easier to use.

The daring dystopian satire that inspired one of the most notorious films ever made, beautifully reimagined as part of the Penguin Essentials series 'Every generation should discover this book' Time Out ________________ In this nightmare vision of youth in revolt, fifteen-year-old Alex and his friends set out on a diabolical orgy of robbery, rape, torture and murder. Alex is jailed for his teenage delinquency and the State tries to reform him - but at what cost? Experiment of language? Social prophecy? Black comedy? A Clockwork Orange is all of these. Dazzling and transgressive, this frightening fable about good and evil asks the meaning of human freedom. ________________ 'A gruesomely witty cautionary tale' Time 'Not only about man's violent nature and his capacity to choose between good and evil. It is about the excitements and intoxicating effects of language' Daily Telegraph 'I do not know of any other writer who has done as much with language . . . a very funny book' William S. Burroughs 'One of the cleverest and most original writers of his generation' The Times

A magnificent, bawdy telling of Shakespeare s love life, following young Will s maturation into sex and writing. A playful romp, it is at the same time a serious look at the forces that midwife art, the effects of time and place, and the ordinariness that is found side by side with the extraordinariness of genius. Burgess can remake reality not only in his own writing but also in a new perception of the writings of his subject. New York Times Book Review"

A Clockwork Orange is as brilliant, transgressive, and influential as when it was published fifty years ago. A nightmare vision of the future told in its own fantastically inventive lexicon, it has since become a classic of modern literature and the basis for Stanley Kubrick s once-banned film, whose recent reissue has brought this revolutionary tale on modern civilization to an even wider audience. Andrew Biswell, PhD, director of the International Burgess Foundation, has taken a close look at the three varying published editions alongside the original typescript to recreate the novel as Anthony Burgess envisioned it. We publish this landmark edition with its original British cover and six of Burgess s own illustrations."

Redesigned and reissued in 2017 to celebrate the 'Burgess Centenary' - 100 years of Anthony Burgess. Revolutionary Sonnets and Other Poems captures the full range and achievement of Anthony Burgess's poetry and verse. It is as daring, original and inventive as the name suggests. The work explores themes of violence and love, pretensions and emotion, sex and war and is both sobering, and hysterically funny. The author of major novels, essays and reviews, the lecturer whose dazzling take on T.S. Eliot's The Waste Land changed our reading of the poem, is - like Eliot himself - a prosodic genius and a musical aficionado. Here are extracts from Burgess's translations of the librettos of Carmen, Oberon and others; of verse dramas including Cyrano de Bergerac, Oedipus the King, Chatsky; and his original musicals Trotsky's in New York!, Mozart and the Wolf Gang and A Clockwork Orange: A Play with Music among others. Here too are his wonderful translations of the Roman dialect poet Giuseppe Belli, extracts from his verse epic Moses, the complete poems of F. X. Enderby, occasional poems for Vladimir Nabokov and Ogden Nash...And we encounter the poems of young John Burgess Wilson, from the Manchester student journal The Serpent. Add to this the autobiographical poem 'The Sword', his New York Times verses about the Apollo II moon landing, a verse fragment from his abandoned novel It is the Miller's Daughter - his fans and new readers will be left with a sense of the scale, wit and accomplishment of one of the great creative originals of the twentieth century.

Anthony Burgess's brilliance as an essayist and his passion for music are united in The Devil Prefers Mozart, the largest collection of his music essays ever assembled.

In these impressions of the Italian countryside, Lawrence transforms ordinary incidents into passages of intense beauty. Twilight in Italy is a vibrant account of Lawrence's stay among the people of Lake Garda, whose decaying lemon gardens bear witness to the twilight of a way of life centuries old. In Sea and Sardina, Lawrence brings to life the vigorous spontaneity of a society as yet untouched by the deadening effect of industrialization. And Etruscan Places is a beautiful and delicate work of literary art, the record of "a dying man drinking from the founts of a civilization dedicated to life."

Kicked out of college and harassed by his lawyer, Miles Faber abandons New York and embarks on a defiant pilgrimage across the Caribbean to find the shrine of Sib Legeru, an obscure poet and painter. But in the streets of Castita's capital, where a wild religious festival is in full swing, a series of bizarre encounters - including his own repulsive doppelganger (the son of a circus bird-woman) - and disturbing family revelations await Miles, who soon finds himself a willing victim of dynastic destiny. A darkly surreal comedy of dazzling linguistic inventiveness, MF is an outrageous tale of blood, lust and the machinations of fate.

‘It was a most surprising thing, to see those Streets, which were usually so thronged, now grown desolate’

In 1665 the Great Plague swept through London, claiming nearly 100,000 lives. In A Journal, written nearly sixty years later, Defoe vividly chronicled the progress of the epidemic. We follow his fictional narrator through a city transformed: the streets and alleyways deserted; the houses of death with crosses daubed on their doors; the dead-carts on their way to the pits. And he recounts the horrifying stories of the citizens he encounters, as fear, isolation and hysteria take hold. A Journal is both a fascinating historical document and a supreme work of imaginative reconstruction.

This edition contains a new introduction, an appendix on the Plague, a topographical index and maps of contemporary London, and reproduces Anthony Burgess’s original introduction.