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Anthony Burgess has attracted acclaim and notoriety in roughly equal measure. He is known to a wider audience as the author of A Clockwork Orange. Burgess was a man for whom chaos and creativity, fact and fiction, existed in a complex and unique balance. This biography talks about this professional writer.
Before Shakespeare in Love, there was Anthony Burgess's Nothing Like the Sun: a magnificent, bawdy telling of Shakespeare's love life.
At the book's center are two twentieth-century men who represent different kinds of power: Kenneth Toomey, eminent novelist, a man who has outlived his contemporaries to survive into, bitter, luxurious old age as a celebrity of dubious notoriety, and Don Carlo Campanati, a man of God, eventually beloved Pope, who rises through the Vatican as a shrewd manipulator to become the architect of church revolution and a candidate for sainthood.
(Applause Books). Anthony Burgess was the author of over 50 books, including his best known novel, "A Clockwork Orange." But Burgess always emphasized music as the ruling passion in his creative life. Largely self-taught in music, Burgess composed his first symphony before he was twenty, many years before his first novel, and he was the composer of over 65 musical works. In these deeply insightful meditations, the renowned writer explores the meaning of music, the intention of the composer and the process of composition, and the seemingly elusive relationships between literature and music. Burgess shows how "the process of literary composition are revealed by the writers themselves" and then gathers evidence to understand the "inexplicable magic" of the details of the operation of music what is music's "intelligibility"? From Shakespeare to the lyric verse of Gerard Manley Hopkins, from the modernists T.S. Eliot and James Joyce to the modern lyricists Lorenz Hart and Stephen Sondheim, Burgess reveals how prose writers have struggled to tap the inherent musicality of their material. This treasured classic, at last back in print, provides a fascinating perspective on the mutually enriching relationship of these two creative arts by a man who mastered them both.
A futuristic account of the world's end is composed of three narrative strands presented as if viewed simultaneously, featuring historical and fictional figures, and shifting from New York, to Vienna, to outer space
Among Shakespeare's many biographers none brings to his subject more passion and feeling for the creative act than Anthony Burgess. He breathes life into Shakespeare the man and invigorates his times. His portrait of the age builds upon an almost personal tenderness for Shakespeare and his contemporaries (especially Ben Jonson), and on a profound sense of literary and theatrical history. Anthony Burgess's well-known delight in language infuses his own writing about Shakespeare's works. And in the verve of his biography he conveys the energy of the Elizabethan age.
After returning from a trip to Brunei, Anthony Burgess, initially believing he has only a year to live, begins to write - novels, film scripts, television series, articles. It is the life of a man desperate to earn a living through the written word. He finds at first that writing brings little success, and later that success, and the obligations it brings, interfere with his writing - especially of fiction. There were vast Hollywood projects destined never to be made, novels the critics snarled at, journalism that scandalised the morally scrupulous. There is the éclat of A Clockwork Orange (and the consequent calls for Burgess to comment on violent atrocities), the huge success - after a long barren period - of Earthly Powers. There is a terrifying first marriage, his description of which is both painful and funny. His second marriage - and the discovery that he has a four-year-old son - changes his life dramatically, and he and Liana escape to the Mediterranean, for an increasingly European life. With this marriage comes the triumphant rebirth of sex, creative energy and travel - to America, to Australia and all over Europe.
Set in postwar Malaya at the time when people and governments alike are bemused and dazzled by the turmoil of independence, this three-part novel is rich in hilarious comedy and razor-sharp in observation. The protagonist of the work is Victor Crabbe, a teacher in a multiracial school in a squalid village, who moves upward in position as he and his wife maintain a steady decadent progress backward. A sweetly satiric look at the twilight days of colonialism.
Traces the life of the English author, D.H. Lawrence, and examines the development of his fiction and poetry.