Anthony Burgess and Modernity

Alan Roughley is Associate Professor of English at Liverpool Hope University and Director of the International Anthony Burgess Foundation

• ForewordDavid LodgeIntroductionCarson BergstromI Interpreting Burgess1 Negativity and dialogical play in Nothing Like the SunNuria Belastegui2 Human nature, sin and grace in The Wanting SeedJ’annine Jobling3 The End of the World News: ‘the end of the book and the beginning of writing’Alan R. RoughleyII Burgess and music4 The postmodernist always swings nicePaul Schuyler Phillips5 From Mann to modernity: Anthony Burgess and the intersection of music and literatureChristine Lee Gengaro6 Anthony Burgess: a choral composerRandall HooperIII Burgess and (the) other(s)7 Anthony Burgess’s fictional biographies: romantic sympathy, tradition-oriented modernism, postmodern vampirism?Aude Haffen8 ‘Putting the boot in’: A Clockwork Orange, post-’69 youth culture and the onset of late modernityPeter Hughes Jachimiak9 Futures past: The End of the World NewsAnthony Levings10 This, that and the other: Anthony Burgess inscribes his modernist differences in Little Wilson and Big GodJ. Riesthuis11 Burgess, Joyce and Ford: modernity, sexuality and confessionMax Saunders12 Mr Burgess, Mr Nye, Mr Shakespeare and Mr Pickleherring: postmodernist representations of Shakespeare in Anthony Burgess and Robert NyeRob SpenceIV Burgess and language13 From kampong to nation-state: Burgess on the Malay language and globalisationAnil Biltoo14 Anthony Burgess and the loom of languageOswyn Murray15 Lost in Babel: the search for the perfect language in Anthony Burgess’s A Clockwork OrangeCarla Sassi16 Burgess/Kubrick/A Clockwork Orange (twenty-to-one)Beryl SchlossmanAfterwordAnthony Cronin