Monday, July 17, 2006

Anthony Burgess - a bibliography

Many thanks to the International Anthony Burgess Foundation for the use of their Bibliography

Anthony Burgess had an immense literary output. The bibliography below includes all of his works published in book-length form and some of the works of other writers whom he edited (such as Joyce and Maugham), but does not include his uncollected writings; nor does it identify all the introductions and prefaces he contributed to other writers' works. Also, in most cases this listing only identifies British first editions; American first editions were usually published after the British ones, and are only included here if the title was different from the British version. In most cases, subsequent editions of Burgess's works are also not listed, unless, as is the case with the Malayan Trilogy (1964) or The Complete Enderby (1995), the new edition assumes a different form from the original. For a more complete bibliography of Burgess's writings, please refer to the bibliographic sources provided at the end of this section.

Original Fiction & Poetry
* Time for a Tiger, London, Heinemann (1956)
* The Enemy in the Blanket, London, Heinemann (1958)
* Beds in the East, London, Heinemann (1959)
* The Doctor is Sick, London, Heinemann (1960)
* The Right to an Answer, London, Heinemann (1960)
* One Hand Clapping (as Joseph Kell), London, Peter Davies (1961)
* Devil of a State, London, Heinemann (1961)
* The Worm and the Ring, London, Heinemann (1961)
* A Clockwork Orange, London, Heinemann (1962)
* The Wanting Seed, London, Heinemann (1962)
* Inside Mr. Enderby (as Joseph Kells), London, Heinemann (1963)
* Honey for the Bears, London, Heinemann (1963)
* The Eve of Saint Venus, Illustrated by Edward Pagram, London, Sidgwick & Jackson (1964)
* Malayan Trilogy (as John Burgess Wilson), London, Heinemann (1964); as The Long Day Wanes: A MalayanTrilogy, as Anthony Burgess, New York, Norton (1964). Comprises Time for a Tiger, The Enemy in the Blanket, and Beds in the East
* Nothing Like the Sun, London, Heinemann (1964)
* A Vision of Battlements, Illustrated by Edward Pagram, London, Sidgwick & Jackson (1965)
* A Tremor of Intent, London, Heinemann (1966) [subtitled 'An Eschatological Spy Story' in the US (New York, Norton, 1966)]
* Enderby Outside, London, Heinemann (1968)
* MF, London, Cape (1971)
* Napoleon Symphony, London, Cape (1974)
* A Clockwork Testament, or Enderby’s End London, Hart - Davies, MacGibbon (1974)
* Moses: A Narrative, London, Dempsey & Squires (1976)
* A Long Trip to Teatime, London, Dempsey & Squires (1976)
* Beard’s Roman Women: A Novel, New York, McGraw - Hill (1976), London, Hutchinson (1976)
* ABBA ABBA, London, Faber & Faber (1977)
* A Christmas Recipe, Illustrated by Fulvio Testa, Verona, Plain Wrapper Press (1977)
* Will and Testament: A Fragment of Biography, Screenprints by Joe Tilson, Verona, Plain Wrapper Press (1977)
* 1985, London Hutchinson (1978)
* The Land Where The Ice Cream Grows, Illustrated by Fulvio Testa, with text by Burgess, London, Benn (1979)
* Earthy Powers, London, Hutchinson (1980)
* On Going To Bed, London, Deutsch (1982)
* End of the World News: An Entertainment, London, Hutchinson (1982)
* Enderby’s Dark Lady or No End to Enderby, London, Hutchinson (1984)
* Kingdom of the Wicked, London, Hutchinson (1985)
* The Pianoplayer, London, Hutchinson (1986)
* A Clockwork Orange: A Play with Music Based on His Novella of the Same Name, London, Hutchinson (1987)
* Any Old Iron, London, Hutchinson (1989)
* The Devil's Mode: Stories, London, Hutchinson (1989)
* A Clockwork Orange 2004, Anthony Burgess & Ron Daniels, London, Hutchinson (1990)
* Mozart and the Wolf Gang, London, Hutchinson (1991)
* A Dead Man in Deptford, London, Hutchinson (1993)
* Future Imperfect, [a compilation of The Wanting Seed and 1985 with new introductions by Burgess], London, Vintage (1994)
* Byrne: A Novel, London, Hutchinson (1995)
* The Complete Enderby [a compilation of the four Enderby novels: Inside Mr Enderby; Enderby Outside; A Clockwork Testament, or Enderby's End; Enderby's Dark Lady, or, No End to Enderby] London, Penguin (1995) London, Vintage (2002)
* A Clockwork Orange: A Play with Music3rd Edition, Including facsimiles of Burgess's music, London, Methuen (1998)
* Revolutionary Sonnets and Other Poems, Ed. Kevin Jackson, manchester, Caranet (2002)

Translations & Adaptions
* The New Aristocrats, Michel de Saint - Pierre. Translated by Burgess with Llewela Burgess, London, Gollancz(1962)
* Olive Trees of Justice, Jean Pelegri. Translated by Burgess with Lynn Wilson, London, Sedgwick & Jackson (1962)
* The Man Who Robbed Poor Boxes, Jean Servin. Translated by Burgess, London, Gollancz(1965)
* A Shorter "Finnegans Wake", James Joyce. Edited by Burgess, London, Faber & Faber (1966)
* Cyrano de Bergerac, Edmund Rostand. Translated by Burgess, New York, Knopf (1971)
* Oedipus the King, Sophocles. Translated by Burgess, Minneapolis, University of Minnesota Press (1972)
* Cavalier of the Rose, (1982) (based on libretto by Hofmannstahl, music by Richard Strauss).
* Cyrano de Bergerac, by Edmund Rostand (secind translation by Burgess) London, Hutchinson (1985); new edition, London, Nick Hern Books (1991)
* Oberon Old and New, London, Hutchinson (1985) includes Oberon: A Fantastic Opera, by Carl Maria Von Weber with libretto by Burgess, and Oberon: A Romantic and Fairy Opera in Three Acts, by Weber with libretto by James Robinson Planché originnaly published in 1826).
* Carmen: An Opera in Four Acts, music by Georges Bizet, libretto by H. Meilhac and L.Halévy, based on the story by Prosper Merimée. Translated by Burgess, London, Hutchinson. (1986)
* Chatsky (or The Importance of Being Stupid): A Verse Comedy in Four Acts. Translated and adaptation of Alexander Griboyedov's Gore ot uma. London, Almeida Theatre (1993)

* English Literature: A Survey for Students. As John Burgess Wilson, London, Longmans, Green (1958)
* The Novel To-day, London: Published for the British Council and the National Book League by Longmans, Green (1963)
* Language Made Plain. London: English Universities Press, (1964); revised and expanded edition, London: Fontana, (1975). First edition dedicated to Peter Green; second to Liana Burgess.
* Here Comes Everybody: An Introduction to James Joyce for the Ordinary Reader. London: Faber & Faber, (1965). As Re Joyce, New York: Norton, (1965)
* The Coaching Days of England: Containing an Account of Whatever Was Most Remarkable for Grandeur, Elegance and Curiosity in the Time of the Coaches of England, Comprehending the Year 1750 until 1850, together with a Historical Commentary by Anthony Burgess, and in Addition Decorated and Illustrated with a Great Number of Drawings, Prints, Views in Perspective Gathered for Purpose of this Work. London: Elek, (1966)
* The Age of the Grand Tour, Containing Sketches of the Manners, Society and Customs of France, Flanders, the United Provinces, Germany, Switzerland and Italy in the Letters, Journals and Writings of the Most Celebrated Voyages between the Years 1720 and 1820; with Descriptions of the Most Illustrious Antiquities and Curiosities in These Countries, together with the Story of Such Traffic by Anthony Burgess and an Appreciation of the Art of Europe in the Eighteenth Century by Francis Haskell. London: Elek, 1966.
* The Novel Now: A Student’s Guide to Contemporary Fiction. London: Faber & Faber, (1967); London: Faber, (1971).
* Urgent Copy: Literary Studies. London: Cape, (1968)
* Maugham's Malaysian Stories. W. Somerset Maugham. Edited by Anthony Burgess. Kuala Lumpur: Heinemann Educational (Asia), (1969).
* Shakespeare. London: Cape, (1970).
* Joysprick: An Introduction to the Language of James Joyce. London: Deutsch, (1973).
* Obscenity and the Arts. Valletta: Malta Library Association, (1973).
* New York. Amsterdam: Time-life International, (1976).
* Ernest Hemingway and His World. London: Thames & Hudson, (1978).
* Man of Nazareth. New York: McGraw-Hill, 1979; London: Magnum/Methuen, (1980).
* Ninety-Nine Novels: The Best in English Since 1939: A Personal Choice. London: Allsion & Busby, (1984).
* Flame into Being: The Life and Work of D.H. Lawrence. London: Heinemann, (1985).
* Blooms of Dublin: A Musical Play Based on James Joyces’ Ulysses. London: Hutchison, (1986).
* Homage to Qwert Yuiop: Essays. London: Hutchison, 1986. Published as But Do Blondes Prefer Gentlemen? Homage to Qwert Yuiop, and Other Writings. New York: McGraw-Hill, (1986).
* Little Wilson and Big God: Being the First Part of the Confessions of Anthony Burgess. London: Heinemann, (1987); New York: Weidenfeld & Nicolson, (1987).
* You’ve Had Your Time: Being the Second Part of the Confessions of Anthony Burgess. London: Heinemann, (1990).
* A Mouthful of Air: Language, and Languages, Especially English. New York: Morrow: (1992).
* One Man's Chorus: The Uncollected Writings. Selected and Introduced by Ben Forkner. New York: Carroll & Graf, (1998).
* Rencontre au Sommet. Dialogue between Anthony Burgess and Isaac Bashevis Singer. Translated into French by Lili Sztajn. Paris: Arte/Mille et Une Nuits, (1998). [Complete 87-page transcript of television program first broadcast in Sweden, (1985).]

Film and Television scripts
* Monitor: Silence, Exile and Cunning. Directed by Christopher Burstall. BBC Television (1965).
* Moses - the Lawgiver. Directed by Gianfranco DeBosio. ITV (1974).
* Jesus of Nazareth. Directed by Franco Zeffirelli. (1977).
* Celebration: Burgess in Manchester. Granada Television (1980)
* Writers and Places: A Kind of Failure. Directed by David Wallace. BBC Television (1981).
* Quest for Fire. Directed by Jean-Jacques Annaud. International Cinema Productions/20th Century Fox. (1982). (Burgess developed the languages for the Neolithic tribes)
* AD. Directed by Stuart Cooper. Ten-hour TV miniseries. (1985) (Burgess wrote the script and also contributed to the musical score)

This section lists only the recordings commercially available on Caedmon Records. Other non-commercial recordings exist - see, for instance, the British Library Sound Archives, which contain a number of Burgess readings and interviews.
* Anthony Burgess reads from The Eve of Saint Venus and Nothing Like the Sun. Caedmon, 1974. TC 1442.
* [Burgess reads extracts from] A Clockwork Orange. Caedmon, 1973. TC 1417.

Burgess Biographies & Criticism
* Aggeler, Geoffrey. Anthony Burgess: The Artist as Novelist. University of
Alabama Press, 1979.
* Aggeler, Geoffrey, Ed. Critical Essays on Anthony Burgess. Boston, MA: G.K. Hall, 1986.
* Bloom, Harold, Ed. Anthony Burgess: Modern Critical Views. New York: Chelsea House, 1987.
* Coale, Samuel. Anthony Burgess. New York: Frederick Ungar, 1981.
* DeVitis, A.A. Anthony Burgess. New York: Twayne, 1972.
* Dix, Carole. Anthony Burgess. Edited by Ian Scott-Kilvert. Harlow: Longman for the British Council. 1971.
* Farkas, A. I. Will's Son and Jake's Peer: Anthony Burgess's Joycean Negotiations. Budapest: Akadémikiai Kiadó, 2002.
* Ghosh-Schellhorn, Martine. Anthony Burgess: A Study in Character. Frankfurt/M and New York: Peter Lang, 1986.
* Lewis, Roger. Anthony Burgess: A Life. London: Faber, 2002.
* Matthews, Richard. The Clockwork Universe of Anthony Burgess. Popular Writers of today Vol. 19. San Bernardino, CA: Borgo Press, 1978.
* Modern Fiction Studies, 27. 3 (Autumn 1981). Special Issue on Anthony Burgess, edited by Samuel Coale.
* Morris, Robert K. The Consolations of Ambiguity: An Essay on the Novels of Anthony Burgess. Columbia: University of Missouri Press, 1971.
* Stinson, John J. Anthony Burgess Revisited. Boston, MA: Twayne, 1991.
* Biswell, Andrew. The Real Life of Anthony Burgess. Picador, 2004.

* Dictionary of Literary Biography Vol. 14, British Novelists since 1960 (1983).
* Dictionary of Literary Biography Vol. 194, British Novelists since 1960, Second Series (1998).
* Boytinck, Paul W. Anthony Burgess: An Annotated Bibliography and Reference Guide. New York: Garland, 1985.
* Boytinck, Paul W. Anthony Burgess: An Enumerative Bibliography with Selected Annotations. Norwood, PA: Norwood Editions, 1974.
* Brewer, Jeutonne. Anthony Burgess: A Bibliography. Metuchen, NJ: Scarecrow P, 1980.

The Burgess Project - the project outline

A co-production between the-phone-book Limited & Manchester Literature Festival, to be presented October 2006.

About Burgess:
Anthony Burgess is perhaps the most famous writer to have come from Manchester, and yet he is astonishingly best known for a film adaptation of his novel 'A Clockwork Orange' that he didn't even script. An author of novels, poems and short stories, a teacher, critic, translator, journalist, broadcaster and avid diarist, by the time of his death at the age of 76, Burgess had published over fifty books and composed a tremendous amount of music - much of it un-heard.

Peripatetic from an early age, Burgess lived in Harpurhey, Higher Crumpsall, Miles Platting and Moss Side as a boy, before wandering further afield in adulthood - quite literally starting with a walking holiday around France, Belgium & Germany. No matter how far he travelled, he never forgot Manchester and The International Anthony Burgess Foundation remains in Withington as the caretaker of a vast archive of work.

Project Outline:
the-phone-book Limited proposes an exciting new production that will bring new life to a diverse literary archive. Using local writing talents and new technologies, we will deliver a live-literature psychogeographic historical tour of the city for the inaugural Manchester Literature Festival this October.

This project will be delivered in three stages.

1: Generating new writing.
With expert advice from the author of the most recent Burgess biography, Andrew Biswell, we will lead a hand-picked selection of the North West's most dynamic writers around the Manchester where Burgess lived, learned and worked. Then, using his work as source material, the writers will create a new collection of works that respond to his fiction, real life and music. Whether a vignette inspired by a musical score, a short story inspired by a Greek translation, or a haiku description of a Burgessian Manchester long-destroyed by Industrial development, we will present a modern approach to an epic collection.

2: Generating rich media content.
In the run up to the festival, some of those pieces will be rehearsed for live presentation, some captured as spoken word or musical recordings, and some dramatised for video productions. Add some real-life materials such as text excerpts from the original manuscripts and photographs from public archives, and you have a rich collection of material that can be delivered to the audience during the event, via their mobile phones. This material can be used to enhance a vignette, or to subvert it, to empower one point of view or argue against it.

3: Generating new readers.
During the festival the writers and/or actors will present their new writing in a unique liveliterature event. Our audience will be lead through the city in a promenade style performance tour. The new works will appear as live readings and as pre-recorded footage sent directly to the audience's mobile phones via SMS and bluetooth. At the end of the event, all subscribed audience members will receive an SMS detailing all the source materials used in the creation of the event to stimulate further reading.

About the Producers:
The mobile phone has become a social phenomenon. Not only can we speak to one another from almost anywhere on the planet, we can also share thoughts and memories in real time, simply by using the 'rich media' capabilities of most handsets. Whether it arrives in text form, as an audio recording of spoken word or music, or as a still or moving image, the message is what counts.

Inspired by mobile phone technologies in 2000, the-phone-book Limited created a new genre of literature - the ultra-short-story - using a maximum of 150 words. In it's three years, encouraged people around the world to use their mobile phones and their spare time creatively, generating an archive of 935 stories written by 330 writers from 24 countries, all available to read across traditional and mobile internet.

Our belief in sharing our experiences has lead us to work with diverse organisations and communities across 15 countries. In the last six years we have delivered fair-trade commercial ventures, an online and performative education programme, passionate presentations at internationally renowned creative and commercial conferences, and have exhibited in the UK, Japan, New York and Adelaide.

About the festival:
Manchester Literature Festival will celebrate the creative interplay inhabiting our city through three strands of programmed activity:

Read is the place where you can meet some of the most exciting authors currently writing, in the best and most unusual venues that Manchester has to offer. In a trial run last year we hosted Carol Ann Duffy in the Royal Exchange, while John Stammers read to a select audience in a luxury suite at the Lowry Hotel and Daljit Nagra entertained us in a Sikh Temple in Cheetham Hill. We have held events in astronomical observatories, museums and private houses. This year, we will continue to mix large and small scale venues and bring emerging and established authors to the city.

Independent is a celebration of the best in independent writing culture. Manchester has always done things in its own way; we are a city that leads rather than follows. From independent publishers, new writers and writing forms, to the explosion of DIY culture in the form of ‘zines, blogs and electronic publishing...we will profile the future of writing before it happens. Whether it is a unique, three-day celebration of Palestinian literature in English, a fast emerging local publisher gathering tales of urban life from around Europe and translating them into English, or a summit on new forms of publishing, it will happen in Manchester first.

Freeplay is the moment when word meets code, offering us new ways of visualising, understanding and communicating our world. We have a project linking schools in Manchester and Northern India via WAP mobile phone internet technology. There will be a bluetooth-driven live literature event based on the work of Anthony Burgess. Blog-driven creative writing projects will enable MLF to lead the creative drive of writers towards the social revolution of digital technology.

The first Manchester Literature Festival will take place from Thursday 12th to Sunday 22nd October 2006.

Starting at the very beginning

In the spring of 2005, the then director of the Manchester Poetry Festival, Chris Gribble, approached me to ask if the-phone-book Limited wanted to do a new commission. New for them because the Manchester Poetry Festival was about to close, to be replaced by a brand new organisation - the Manchester Literature Festival. New for us because we had already made significant changes within our own company and were looking to develop new projects. New is good.

Not wanting to bore anyone too much with a large history (we are over six years old as an organisation now) we are called the-phone-book because we started out with a project that quite literally turned peoples mobile phones into books. In 2000 we - ben and fee - saw the potential of mobile devices as a creative challenge and an innovative distribution platform. While other companies dismissed the small format and minimal technology as 'crap', we saw the future and claimed wireless data space for artists, writers, musicians, and educators.

Our first project,, commissioned ultra-short-stories (max 150 words, min 150 characters) for mobile phone internet - WAP1.0. We didn't charge anyone to submit their stories, paid them professional rates when we published them, and didn't charge anything to our audiences for reading them. Not the greatest business model in the world, but it certainly proved the wealth of writing talent in the North West of England, and beyond, and has also educated a new generation of writers and readers, not to mention established a new genre of literature.

Since then we have commissioned artists to make ringtones and logos, developed an online and performative education programme which is now being taught by other trainers internationally, exhibited in Japan, USA and the UK and presented to artists and businesses at conferences all over the world. See for the list, and eventual archive.

It was our innovative combination of literature and technology that had attracted Chris in the first place. The fact that we also love to commission new work through our own projects was a bonus. The new Literature Festival would have a literature and technology strand, Freeplay, and Chris wanted a showcase project to launch both the festival and that strand. So he said 'come up with something entirely new'. And we did.

In the year that followed, we devised the new concept and started to get partners and funding in place. We knew it had to be something to do with mobile phones, had to commission new writing from the region's best writers, and feature a well known Manchester writer as a starting point. Why? Well the first one was obvious - we're the-phone-book, so we work with phones, right? Secondly, through we had access to a wealth of talent that we had badly missed since 2003 when the project closed after three successful years, and we knew we would be working with the local arts council, so any new commission would need to benefit local writers. Thirdly, it was the Manchester Literature Festival, so we felt we had to have a focus on someone from Manchester as our 'source material'.

Some brief websearching later, we realised that Anthony Burgess was a great choice. He was born in Harpurhey, North Manchester and moved around the city, studying at Xaverian college and Manchester University - a local boy indeed. His catalogue of work included not only 'A Clockwork Orange' (his most famous publication, made so by the Kubrick film adaptation that Burgess didn't even script) but a wealth of novels, short stories, translations and musical compositions. The man was prolific beyond comparison.

Even though he left Manchester after University in 1956, he never forgot the city and his experiences here. To honour his memory, there is a foundation - the International Anthony Burgess Foundation - in Withington. We contacted them, as well as the latest biographer Andrew Biswell (who also happens to be a lecturer in Creative Writing at MMU) to see if they fancied playing with us, and to our extreme delight, they not only came on board with enthusiasm, but the IABF have granted us full copyright waivers on any of his work. What more could we ask for?! They have also given us the use of their building for both the writing process and our launch party, a bundle of wonderful photos from their archives and put us in touch with Douglas Milton who has developed a one-man show based on Burgess' autobiography, Little Wilson and Big God. I cannot thank them enough.

The next step had to be funding. Which really brings me up to date because last Wednesday we got confirmation of our grant from the Arts Council. I didn't include the notion of a blog in my application - it's not like it costs any more, after all! - but I did plan to produce a documentary style DVD about the project and its process. So a blog can only help me keep track of the project and also makes an interesting piece of reading for those who eventually become our audiences! Especially as one of our intentions is to promote Burgess' back-catalogue - beyond A Clockwork Orange!

So, here you will find updates on the project as we head off on our psychogeographic tour of Burgessian Manchester, develop new writing with some of the North West's finest, create new technological toys to distribute the rich media archives to mobile phones, and then follow the project around the city when it all happens live in October!

Photo courtesy of the collections at the International Anthony Burgess Foundation, used with permission.
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