Abstract

This article argues that the first-person narrator and antihero of Anthony Burgess's famous dystopia is far from being the symbol for human freedom he has traditionally been taken to be. Quite the opposite, he is to be seen as a symbol for human “self-imposed nonage” at every point of the novel: from his alleged rebellion to his farewell to rape and aggression in the final chapter. All of his apparent acts of freedom are determined by the dynamic interplay of biological disposition and political exploitation. Burgess's theory of freedom, however, is more sophisticated than Alex's “turnspit freedom.” It is displayed in two minor characters, F. Alexander and the prison chaplain, modelled on Burgess and his cousin the Catholic Archbishop George Dwyer, respectively, who display “political awareness” that leads to decisions based on informed judgment.