Borrowing from Nietzsche's aesthetic dichotomy of Apollo and Dionysus, the book uncovers the protracted evolution of Burgess's fiction and offers a unifying theory which links his early postcolonial fiction chronologically, via his modernist experiments like A Clockwork Orange and Nothing Like The Sun, to his late classics Mozart and the Wolfgang and A Dead Man in Deptford.
This volume clarifies Burgess's seminal role as both late modernist and early postmodernist, and lucidly unveils the legacy of England's most mercurial novelist.
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"The Aesthetics of Anthony Burgess takes the very question of creativity and prolificacy as its core theme. By focusing upon the writer and composer characters who pop up everywhere in Burgess's novels, Clarke manages a survey of every major text and even gives a sense of shape to the whole, both conceptually and poetically." (Joseph Darlington, The Cambridge Quarterly, Vol. 47 (4), December, 2018)