As we mentioned a week or so ago, we’re delighted to have a new chapter out in Matt Melia and Georgina Ogilvy’s edited collection Stanley Kubrick, Anthony Burgess and A Clockwork Orange. Our study looks at what happened to Nadsat in Kubrick’s adaptation of ACO, which came out in 1971. How did it survive in this process, bearing in mind Burgess wasn’t really involved in it? Did Kubrick take any liberties?
