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Taking into consideration that fact that the idiolect invented by Antony Burgess in his writing is a language that was never known, we may say that it is both peculiar and innovative. Burgess did not mimic any register or slang and neither did he intend to show what factual processes were occurring in the language. What actually happened was that English experienced a penetration that never before had it undergone. The dialect used by Burgess in his work depends heavily on the Americanised slang used by Spanish teenagers, which is the recurring idea in the translation done by Feliciano Puerto for the Spanish Translation company. The combination of English and other languages does not point to the fact that English would one day sound like other languages, which was Burgess’s presumption. The language and the plot of A Clockwork Orange (growing cruelty and audacity of youth hoodlums) are treated by the translator as valid forecasts about what is to be expected in our modern society and Alex’s dialect is indicative of this, as it serves as a prophecy that transfers the novel to our cultural environment.

Both readers and translators are faced with a number of difficulties in their encounters with Burgess, which is due to his masterful use of linguistic devices. Logically, he is an author that less known to the readership. Fortunately, A Clockwork Orange was adapted for the cinema by Stanley Kubrick, which gained Antony Burgess a cult status. In 1962 when Burgess’s career was at its dawn his work could already be divided into periods, which explains the previous statement. The periods can be divided into: “the exotic period” – the first one, the “repatriate” – the second one and the “fantastic” period is the third one, which means that The Wanting Seed and A Clockwork orange belong to the third period. Throughout the world people are familiar in most cases with the “fantastic period” – the other two being less familiar. Not manyof Burgess’s books have been translated and published which is why the information on Burgess is bit misleading. As it was difficult to get the right to publish his books, most translators had to use Certified New York Translation Services corporations. They concentrated on only one novel, as this was difficult, and were forced to ignore the rest of his works. Owing to the fact that only certain novels of his have been translated he is unfairly regarded as the author of one book – A Clockwork Orange. Sadly, Burgess left a huge legacy, which is either translated badly or neglected, e.g., A Clockwork Orange had to go through some arguably appropriate linguistic experiments, while One Hand Clapping was ideologically manipulated.

As The Wanting Seed is difficult to find and its view of the future is rather controversial, while A Clockwork Orange tastes like a forbidden fruit as it was censored for the underground world of ultra-violence, it is worth taking into account the fact that Burgess is considered an alternative author. Tempting to those who are interested in the devices used for manipulation, One Hand Clapping, which reminds of propagandist literature, was skillfully translated into French by the French Translator. These factors shape up the image of Burgess as the author of experimental fiction, whose writing was outside the mainstream.