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John Anthony Burgess Wilson foi um escritor, compositor e crítico britânico.

Prolífico e controverso, grande parte da sua obra ainda permanece no anonimato, sendo lembrado principalmente pelo décimo oitavo livro, Laranja Mecânica . Seus livros, críticas e resenhas são marcados por grande sátira social. James Joyce — de quem Burgess era admirador e estudioso — é considerado a mais marcante influência no trabalho de Anthony Burgess.

Burgess cedo ficou órfão de mãe, vítima da gripe espanhola. O pequeno John foi, desde então, criado por uma tia e, mais tarde, pela madrasta. Estudou literatura e língua inglesa na Universidade de Manchester. Foi compositor, serviu por seis anos ao exército inglês na II Guerra Mundial e tornou-se oficial na Ásia e, mais tarde, professor, trabalhando inclusive para o Ministério de Educação na Malásia. Com a luta pela independência da Malásia o deixando desempregado e tendo sido diagnosticado com um doença fatal, Burgess entrou em frenesi literário em 1959, preocupado em deixar sua esposa sem recursos financeiros. A previsão médica estava errada. Ele viveu até 1993, enquanto sua esposa, Llwela Isherwood Jones, morreu de cirrose hepática em 1968. No mesmo ano, Burgess casou-se com Liliana Macellari, uma linguista e tradutora italiana, com quem conviveu até sua morte.

A mais célebre fábula de ficção científica de Anthony Burgess, "Laranja Mecânica", é um libelo pelo livre-arbítrio. Burgess preocupava-se com a ampla utilização do behaviorismo em clínicas, consultórios e prisões. O aumento a delinquência juvenil tanto no Ocidente capitalista quanto na Rússia soviética foi outro catalisador do livro cuja língua, inclusive, é um inglês russificado, de gírias abundantes. O autor retornou ao tema de Laranja Mecânica em Enderby Outside e A Clockwork Testament, or Enderby's End , livros que tiveram fria acolhida. Wikipedia  

✵ 25. Fevereiro 1917 – 22. Novembro 1993
Anthony Burgess photo
Anthony Burgess: 310 citações3 Curtidas

Anthony Burgess Frases famosas

“Ria e o mundo rirá com você, ronque e você dormirá sozinho.”

Anthony Burgess

Laugh and the world laughs with you; snore and you sleep alone.
Inside Mr. Enderby‎ - Página 43, de Anthony Burgess - Heinemann, 1963 - 252 páginas

“A lealdade de Ernest era difícil de se conquistar e podia desaparecer com enorme facilidade.”

Anthony Burgess

citado em Revista Veja http://veja.abril.com.br/260700/p_086.html, Edição 1 659 - 26/7/2000

“Bondade é que se escolhe. Quando um homem não pode escolher, ele deixa de ser um homem.”

Anthony Burgess livro Laranja Mecânica

A Clockwork Orange

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“A violência sem sentido é uma prerrogativa da juventude, que tem muita energia, mas pouco talento para o construtivo.”

Anthony Burgess

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“O amor parece inevitável, necessário, tão normal e tão fácil quanto o processo da respiração.”

Anthony Burgess

Anthony Burgess frases e citações

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“A igreja sustenta que pode ser maltratada, mas os punhos que maltratam conhecem sua própria impotência.”

Anthony Burgess

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“Os homens são influenciados por grandes palavras vazias, chiqueiros que incham as pálpebras e impedem a visão da verdade.”

Anthony Burgess

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“Ele ordenharia o homem branco…. O homem branco tinha mais dinheiro do que bom senso.”

Anthony Burgess

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“Os idiomas nunca param. A ortografia moderna cristaliza as pronúncias perdidas: o visual nunca alcança o aural.”

Anthony Burgess

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“Eu assisti as aldeias cinzentas mancando, o vento rasgando cartazes rasgados de eventos já realizados. O que eu precisava, é claro, era de uma bebida.”

Anthony Burgess

Anthony Burgess: Frases em inglês

“…the snarling, whining, pampered, analphabetic humanoids of Hollywood emerge as garbage irrelevantly gilded with adventitious photogeneity.”

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Anthony Burgess

"Schmuck".
Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

“I lay a little while, naked, mottled, sallow, emaciated, smoking a cigarette that should have been postcoital but was not.”

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Anthony Burgess

Fiction, Earthly Powers (1980)

“All right,” said Rowlandson. He began shakily to count out notes. Near-broken, he was still an Englishman; he would not bargain.”

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Anthony Burgess

Fiction, Devil of a State (1961)

“The greater part of the time I spent, when I talked at all, talking to men. I liked to take luncheon in some pub or other, sitting on a high stool at the snack-counter, barons of beef, hams, salads and dishes of pickle spread before me, the server in his tall white cap carving with skill. Other male eaters would be wedged against me, champing over newspapers, and there were a peculiar animal content in being among warm silent men, raising glasses in smacking silent toasts to themselves, the automatic ‘ah’ after the draught, the forkful of red beef and mustard pickle. Sitting with my gin or whisky afterwards I would often manage to get into conversation with some lonely man or other – usually an exile like myself – and the talk would be about the world, air-routes and shipping-lines, drinking-places thousands of miles away. Then I felt happy, felt I had come home, because home to people like me is not a place but all places, all places except the one we happen to be in at the moment.”

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Anthony Burgess

Fiction, The Right to an Answer (1960)

“We're in control, and we have what we want!”

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Anthony Burgess

Fiction, Beard's Roman Women (1976)

“I am late with the new Doris Lessing [The Golden Notebook]. I make no apology: it has taken me a long time to read (568 pages of close print) and at the end of it all I feel cheated. This talented writer has attempted an experiment which has failed, essayed a scale which is beyond her…. This is a book of revolt – political, social, sexual. Anna [the heroine] became a Communist in South Africa, seeing in Communism a "moral energy" not to be found in other creeds or in the long-entrenched privileged class. Anna is also concerned with being a "free woman" – rebelling against traditional male dominance – and with achieving maximal erotic fulfilment…. There is no doubt about the great moral virtues here – intelligence, honesty, integrity – but it is the aesthetic virtues that seem to be lacking. The characters do not really interest us: when we have dialogue it is strangely unnatural … Mrs Lessing’s old singleness of vision, her strength as a writer, is not to be found here. [Review in the English provincial newspaper the Yorkshire Post, 1962]”

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Anthony Burgess

People, Joseph Conrad, Doris Lessing

“…the Malay word chium meant to plough the beloved’s face with one’s nose”

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Anthony Burgess

Fiction, Beds in the East (1959)

“In China he had spoken good Mandarin, and in ten years this had become his first tongue. Here he found himself with a parish of Hokkien and Cantonese speakers and a few English people whose language he could hardly talk. His French, severed from its sources of nourishment, grown coarse through lack of use, halted and wavered, searching for the right word which Mandarin was always ready to supply.”

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Anthony Burgess

Fiction, The Enemy in the Blanket (1958)

“The great gift of the southern lands to our civilisation is the simple right to sit at an outside cafe table and look at things.”

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Anthony Burgess

Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

“…slang…the home-made language of the ruled, not the rulers, the acted upon, the used, the used up. It is demotic poetry emerging in flashes of ironic insight.”

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Anthony Burgess

Non-Fiction, A Mouthful of Air: Language and Languages, Especially English (1992)

“I myself was, for nearly six years, in such close touch with the Malay language that it affected my English and still affects my thinking. When I wrote a novel called A Clockwork Orange, no European reader saw that the Malay word for "man" – orang – was contained in the title (Malay students of English invariably write "orang squash"…”

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Anthony Burgess

Non-Fiction, Joysprick: An Introduction to the Language of James Joyce (1973)

“You drink wine, you have foreskins. These things have been observed.”

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Anthony Burgess

Fiction, Napoleon Symphony (1974)

“Relief brought an aching desire to be sitting in a kedai with a large bottle of Tiger or Anchor or Carlsberg in front of him….”

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Anthony Burgess

Fiction, Time for a Tiger (1956)

“Any kind of discourse which has a flavour of the British ruling class, so powerful is ancestral memory, must be strenuously avoided.”

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Anthony Burgess

Non-Fiction, A Mouthful of Air: Language and Languages, Especially English (1992)

“(Singapore) is not even a place where a white man is permitted to go to pieces….”

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Anthony Burgess

"Tanah Melayu".
Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

“Writers are not, by nature, respectable: their function is to be subversive.”

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Anthony Burgess

Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

“The British…used to regard foreigners as either a comic turn or a sexual menace. To learn a European language…was, at best, to seek to acquire a sort of girls’-finishing-school ornament, at worst, to capitulate feebly to the enemy.”

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Anthony Burgess

Non-Fiction, A Mouthful of Air: Language and Languages, Especially English (1992)

“All art preserves mysteries which aesthetic philosophers tackle in vain.”

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Anthony Burgess

Non-Fiction, A Mouthful of Air: Language and Languages, Especially English (1992)

“There is a profound middle-class nostalgia for the days of British protection….”

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Anthony Burgess

Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

“The consciousness in [Australia and New Zealand] of the elevation of a substandard dialect into a national tongue has been responsible for a mixture of attitudes to citizens of the mother country - inferiority, defiance, contempt. A blending of the first two may be responsible for the upward intonation pattern of answers, more appropriate to questions…. slang is of its nature defiant. It is also demotic…. But the ruling class of Australia is itself demotic.”

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Anthony Burgess

Non-Fiction, A Mouthful of Air: Language and Languages, Especially English (1992)

“They could hardly believe it, the retreating arses of all that Mameluke or Turkish cavalry, heathen anyway, crying heathen words as they cantered off in gunsnioke and dust-clouds, dropping spears and jewels and good Birmingham pistols. And soon it was water water water, a world of blessed water, the muddy stinking welcoming mother Nile near Rahmaniya.”

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Anthony Burgess

Fiction, Napoleon Symphony (1974)

“The most sensational of all the sick literary lives was that of Maupassant, who died mad at forty-three and whose hatred of God, man and nature - manifested in literary productions which give us immense pleasure: how is that to be explained? - spring from a kind of mother fixation as well as a terror of the cold. He was a bull of a man much given to boats and riparian dalliance, but he had bad circulation. He had other things too, including a Chinese-style priapism which enabled him to copulate, usually in public, six times in a row, the secret being his failure to detumesce. This, of course, like acne and the common cold, can be a symptom of tertiary syphilis, which Maupassant certainly had.”

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Anthony Burgess

Non-Fiction, Homage to QWERT YUIOP: Selected Journalism 1978-1985 (1986)

“‘That it is still possible for a man of initiative to make money in the East is the firm opinion of balding, plump Mr Denham who adds, however, “Not if you take a wife with you.” Mr Denham has scathing things to say about Englishwomen and their lack of domestic virtues. He particularly selects their cooking as a target, but considers also that they are far inferior to the slant-eyed beauties of the Orient in the all-important matter of fidelity to their menfolk. Mr Denham is considered an authority on the women of Japan who, he says, are lovely, demure and submissive…. On his own admission he has little time for anything except money, dalliance, and the “imbibing of liquors of all kinds”.’”

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Anthony Burgess

Fiction, The Right to an Answer (1960)

“There was a silence. Outside, and most unfortunately, a boy could be heard calling to another boy: ‘Piss off, Cowie.’ Stern looks were fixed on Woolton.”

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Anthony Burgess

Fiction, The Worm and the Ring (1960)

“…the bathroom which Crabbe visited showed signs that Moneypenny now regarded even a lavatory as supererogatory.”

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Anthony Burgess

Fiction, Beds in the East (1959)

“Ted, I noted, was very busy - at the pumps, at the glasses behind, the bottles below, the merrily ringing till, like a percussion-player in some modern work who dashes with confidence from xylophone to glockenspiel to triangle to wind-machine to big drum to tambourine.”

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Anthony Burgess

Fiction, The Right to an Answer (1960)

“There were…smiles of encouragement for Lydgate, and some smiles of sweet pity as well, as for the only leper present.”

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Anthony Burgess

Fiction, Devil of a State (1961)