What inspired Burgess for writing the novel?

Burgess was inspired to write A Clockwork Orange during a visit to Leningrad in 1961. There, he observed the state-regulated, repressive atmosphere of a nation that threatened to spread its dominion over the world. At the time of his visit, the Soviet Union was ahead of the United States in the space race, and communism was establishing itself in countries as far-flung as Vietnam and Cuba. Burgess regarded communism as a fundamentally flawed system, because it shifts moral responsibility from the individual to the state while disregarding the welfare of the individual. Burgess’s deeply internalized Catholic notions of free will and original sin prevented him from accepting a system that sacrifices individual freedom for the public good. A Clockwork Orangemay be seen in part as an attack on communism, given the novel’s extremely negative portrayal of a government that seeks to solve social problems by removing freedom of choice.

During his visit to Leningrad, Burgess encountered the stilyagi,gangs of thuggish Russian teenagers. While Burgess was eating dinner at a restaurant one night, a group of bizarrely dressed teenagers pounded on the door. Burgess thought they were targeting him as a westerner, but the boys stepped aside graciously when he left and then resumed pounding. Burgess insists that he based nadsat—the invented slang of his teenage hooligans in A Clockwork Orange—on Russian for purely aesthetic reasons, but it seems likely that this startling experience influenced his portrayal of Alex and his gang. Along with English Teddy Boys, a youth culture of the 1950s and 1960s associated with American rock music, the Russian gangs provided a template for the hoodlums in A Clockwork Orange.

However, A Clockwork Orange shouldn’t be understood simply as a critique of the Soviet Union or of communism, because the dystopian world of the novel draws just as much on elements of English and American society that Burgess detested. In his own estimation, Burgess had a tendency toward anarchy, and he felt that the socialistic British welfare state was too willing to sacrifice individual liberty in favor of social stability. He despised American popular culture for fostering homogeneity, passivity, and apathy. He regarded American law enforcement as hopelessly corrupt and violent, referring to it as “an alternative criminal body.” Each of these targets gets lampooned in A Clockwork Orange, but Burgess’s most pointed satire is reserved for the psychological movement known as behaviorism.

Popularized by Harvard psychologist B.F. Skinner in the 1950s and 1960s, behaviorism concerned itself with the study of human and animal behavior in response to stimuli. Through the application of carefully controlled system of rewards and punishments—a process referred to as conditioning—Skinner demonstrated that scientists could alter the behavior of test subjects more effectively than had previously been thought possible. (In one famous experiment, he successfully trained laboratory pigeons to play ping pong.) To many people, behaviorism seemed to offer an almost limitless potential to control human behavior, and the movement had a profound effect not only in academia, but on education, government, and criminal rehabilitation as well. In A Clockwork Orange, Burgess satirizes behaviorism with his portrayal of the fictional Ludovico’s Technique.