Even at this stage, his interest in language and restless linguistic creativity was apparent. Prior to its publication, Burgess was already a rapidly establishing author. In this article, we will look at Burgess’s language creativity throughout the 1960s, the same decade in which he published A Clockwork Orange. Furthermore, most of these were not SF novels (and not fantastical literature either.) It is worth, therefore, considering how his Tolkienesque secret vice manifested, especially in relation to the useful schema for constructed languages offered by Ria Cheyne.
Nevertheless, his other fiction, and he wrote over 30 other novels, does bear the imprint of his restless linguistic creativity. After all, he never repeated the linguistic experiment of ACO, except in terms of its cultural proliferation, as stageplay, movie, or musical. This is despite that fact that his one foray into a novel written in an invented language, A Clockwork Orange, remains his most successful work almost three decades after his death, as it was throughout his life. Getting lingthusiastic about translationĪnthony Burgess might be thought of as more of a dabbler in invented literary languages than the glossopoia demonstrated by a Tolkien or a Le Guin.Anthony Burgess’s other invented languages.Anthony Burgess’s other invented languages, Part 2 – The Sixties, Shakespeare and Strine.Anthony Burgess’s other invented languages Part 3: The Riddle of Sicily in the Caribbean.Anthony Burgess’s other invented languages Part 4: The Seventies, Sophocles, and Shocking Sonnets.Anthony Burgess’s other invented languages Part 5: Rewriting the Bible.
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