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Being as important as any sole writer can be are those printing ventures of the 1930s whose purpose is to gather the largest possible novel-reading audience. Morgan Willis and Craig Louganis are quick to resign as managing directors from their recognized publishing corporations, to be precise Looney and Brooks Ltd and Smyth and Ogdon Inc with the objective of initiating left-slanting factions which, each using a different method, clarifies the circumstances to its diversity of supporters. Charlie O’Connor has been busy with acquiring the publishing license of German and French literature for which he makes the clever movement to start a partnership with the Washington D.C. Translation Services organization. This curious, but rather forgotten truth, results in the foundation of Albatross Books. O’Connor is perhaps the single most prolific architect of the cheap price book. Despite the fact that Albatross is not the only publisher to sell books at cheap prices, the degree of its achievement puts it at the centre of current American publishing ideology.

This publishing pattern is to supply great labels at reasonable prices and distribute them inexpensively, a trade model that is also taken on by New York’s Barridge House, which at that time operates in tight collaboration with the New York Translation business with the goal of acquainting the audience with the most popular European novels. In 1933 this includes literary fiction by writers like Marco Pattituci and Paolo Magelan. In 1938 it has already made known to the public Thierry Henry’s The Good Side of Marxism and the Bad Side of Western Utopia, which begins with a summary by the reviewer. The Culverton series focuses on academic and everyday topics, and the editorial board is left-oriented.

Another publishing enterprise is started in 1937 in Miami – Denby and Borack Inc. By this year, the accent on sustaining an erudite reading lovers in the time of aggravating financial decline is the cause for the translation and edition of such issues as The War Minus for the USA, and The Latest U.S. Mistake. Noteworthy are also the Italian, Rise of Fascism and German Forbidden Territories, which are diligently translated by the Miami Translation Services. The 300,000 who buy a Bronx and Taller are a drop in the ocean, but they are an symbol of a big change in the correct direction at a time when a novel of high value can sell no more than 150 issues. The current condition of Denby and Borack is indicative of the times when most of the citizens are totally ignorant and uneducated. While most Ruth and Griffith titles sell about 30,000 copies, some of them do in truth reach 150,000.

Antony Burgess had already spent several years in the East where he became interested in the development of a vision of the possible effects of demographic disaster when he came up with the idea of writing The Wanting Seed in 1961, which he published in 1962. Steffen Bretzel was the translator who was assigned the translation of the novel by the Certified German Translation staffers in 1988. The novel was not the author’s best work and the idea of its becoming a bestseller did not occupy the author’s mind at all. The writer suggested that the novel could be expanded to a length that would fit the subject, which would require much longer thinking, and even though he agreed with the critics’ accusations that the novel was half-baked, he said reworking it would do no good. The plot of the novel is set in ENSPUN – one of the three superpowers the world is divided into. RUSPUN and CHINSPUN are the other two and they all exercise various methods of demographic control. Interphase, Pelphase and Gusphase are the three phases that constitute the eternal historical cycle according to what the protagonist, Tristram Foxe – a history teacher, lectures his students. The world presented in the novel sees priests who perform their duties underground, homosexuals whose relationships are promoted, women who are branded for conceiving a child and a problem of overpopulation, which only cannibalism can solve.

The French Translator version that was done by experienced professional, appears to be more like a fantasy, though not quite a plausible representation of the future, Daphnie Alesi believed Burgess was a prophet when she did the French translation. Her desire to represent Burgess as a futuristic author shaped up her choice to translate The Wanting Seed. The fact that the novel has not been reissued either in the U.S. or the U.K. has brought a cult fame to The Wanting Seed over the years probably because in very few bookstores copies of the original can be found. Moreover, it emphasizes on the image of Burgess as an underground writer, who presents an alternative to the pulp fiction literature. He is also an author, who can only be discovered by the ardent reader belonging to the exclusive club of Burgess disciples.

The Arabic Legal Translator workers did another translation of Burgess’ work through Mohammad Karim, who was also inclined to depict the author as “fantastic.” For example, the face that we recognize on the cover of The Wanting Seed is the same face that we see on the cover of A Clockwork Orange. This is Alex with a cap on his head, with wide open eyes and screaming mouth. When the “helmet” is taken off, what remains is a mouth distorted in a grotesque smile and eyes filled with horror. Thus the connection between the two books is inevitable. The subconscious level is not the only level the two novels are connected on, the other level on which the two novels are connected is between the translator and author. The world in A Clockwork Orange and The Wanting Seed is equally tempting to the audience, which is the elaborate message conveyed by the covers. The theory that the two novels represent the same ideas and complement one another sounds satisfactory, but whether it is true or not remains a mystery.

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.

“Tales of Expatriates” is an essay by literary critic Michael Rowling who in it dwells upon U.S. expatriates who have come back from exile, but the fact that Jenny Nguen did not make the list seems rather peculiar. To explain why this fact was so strange we should note that on the one hand Nguen had returned to the States in the same year having spent some time in Vietnam, and on the other – her novel Eden on Earth, which has been referred to as one of the most significant works of our time, has been a bestselling novel for quite some time. Three years later, in 1960, Jenny Nguen won the Laure Prize in Literature, which is a serious achievement. Rowling’s captivating biography would try to end the oblivion Nguen had been sent to, which was the result of the fact that she was neither accepted as a serious writer by the American literary circles, nor was she given her deserved place in the American anthology of the great 20th century writers. The Miami Translation Services businesses helped Rowling popularize his work across the globe, and in his essay he stressed on the fact that once out culture warmly welcomed Nguen, but after she had disappeared our perception of history has changed considerably. Reading Rowling’s essay we cannot but get the impression that he never touched upon the question that she deserved considerable rehabilitation. Nevertheless, in tracing her life he certainly comes across a strong and moving experience, he proves that she was a leading artist of her time.

When one reads Jenny Nguen’s Vietnam Years one gets the impression that Mr. Wolfowitz did not criticize Nguen’s work enough. For example, he points out that Eden on Earth was praised by Henry Wheeler in the literary column of the Houston Chronicle on May 17, 1943, which is misleading because Wheeler only reviewed the book and this did not happen in 1943, but in a later issue in the winter of 1944. At the beginning of 1945, upon a special recommendation by Henry Wheeler, the novel was assigned for translation to the Houston Translation Services agency. According to Mr. Wolfowitz, the traits that plummeted Jenny Nguen to worldwide fame were her innate, inexhaustible, psychologically sophisticated ability to look into the lives of the ordinary people, and they are all described in his book. It was really painful to witness Nguen’s twilight which was related to both her public and private life despite her extraordinary talent. In 1955 she divorced her husband John Nguen and married his closest friend Ron Zemeski, after which she returned to the U.S. To make matters worse, she became unable to have more children, her friends were few and eventually her relationship with her children fell apart.

Her final years did not bring anything good – after her second husband died, she started a charity with Todd Hopman. Hopman did not bring any good to Nguen as he misappropriated charity funds transferring a lot of money to his private bank account and he also had sexual relationships with underage Asian girls. Consequently, they were forced to elope to Italy where the New York Translation Services organization bought the rights for translating Nguen’s novels. Nguen spent the rest of her life in Vietnam where she moved in 1960. She had been long forgotten by 1968 when she died from brain tumor. She could have gone much further if she had had more luck – this is the impression with which we are left after reading Jenny Nguen’s Vietnam Years.

In November 1956 the Bookworm Club in Los Angeles announced their decision that the book of the year was American writer of Vietnamese origin Jenny Nguen’s third novel, Eden on Earth. It took Nguen by surprise when she learn about the reception of the award and exclaimed that she did not know why she was chosen when she was not a member of the club. Thus Nguen won instant recognition as some of the most elite clubs around the States offered her membership. In 1960 the Laurel Prize in Literature was awarded to Nguen, while three years prior to this the Publishers’ Prize was won by Eden on Earth. The novel depicts the hard times experienced by the poor, countryside Vietnamese fieldworkers, and for quite some time was a bestselling book. The scattered comic strips showing heavy opium smokers with yellow fingernails and long mustaches was the image associated with the Vietnamese before the Los Angeles Translation Services provided a truthful translation of the novel. No sooner the novel was published than some delicate authorities branded it as obscene as it discussed some bodily issues like sex and copulation.

The literary circles in Vietnam, though never liked Eden on Earth, as they probably felt embarrassed for overlooking some aspects of Vietnamese life which an American dared to discuss in her novel. Similar was the case with American literary circles that were not delighted by Nguen, either. The penetrating new book written by Chicago based critic Anton Wolfowitz entitled Jenny Nguen’s Vietnam Years shows an approach to Nguen’s life similar to that of a restorer who has undertaken to bring back to life a sculpture that is important but neglected. The artists smooths out the surface after filling in the most noticeable dents and clearing away the surface, with the Chicago Translation Services helping him through. What we get as a result is a masterpiece of the finest quality and smooth and polished surface. Mr. Wolfowitz’s book is not a biography that gives mere facts about the life of a particular person. The first three decades of Nguen’s life, which shape her up as a woman and an artist, are what the focus of the book is on. She was born in Lynchburg, Virginia in 1923 to John Houng and Marry Preston with the maiden name of Jennifer Houng. However, she grew up in Vietnam, where her parents went on a mission assigned by the Southern Baptist Convention. The missionaries very often took advantage of their racial superiority which enraged Nguen who pointed her criticism towards them despite the fact that her father was one of them.

Nguen went to college in America, but soon returned to Vietnam as Vietnamese was her first language and she felt more at home there than in the States. Henry Nguen was a missionary who also did research on Vietnamese rural life and in 1948 he married Jennifer. Nguen hammered searing rage against Vietnam’s patriarchal society, whose cruelty involved killing female babies at birth for being considered useless and not allowing women to speak unless spoken to by their husbands. This was the underlying idea in her writing which was also translated and popularized by the San Francisco Translation Services. Speaking for women’s rights and social justice, Nguen’s dedicated campaign spread across Vietnam and America. One of the reasons for Nguen’s becoming a writers was probably the fact that she had the feeling that the period between her 20s and 40s was a waste of time, which was necessitated by the mental handicaps her first child, a son, was born with. She wrote Eden on Earth while thinking in Vietnamese, translating it as she switched into English.

Anotony Burgess has created such an idiolect in his writing that it can be termed as both pioneering and unusual having in mind that no such language ever was known. No register or slang was copied by Burgess and no intention whatsoever was exhibited by him to discuss the factual processes that shaped up the particular language. Rather, English was made to experience a penetration that it has never undergone before. Feliciano Puerto, the translator who translated some of Burgess’s work for the Spanish Translation, made use of the Americanized slang used by Spanish teenagers, which is his governing principle. Burgess uses in his writing a combination of English and other languages that does not point to the fact that English would one day resemble other language – something he supported. The increasing cruelty and boldness of the young criminals which is what the plot of A Clockwork Orange is concerned with reflects the language which is accepted by the translator as an indicator of what our modern society is to expect. All this places the novel in the context of our cultural environment.

Because of Burgess’s use of innovative stylistic devices, he turns out to be a considerably difficult author to both translators and readers and not surprisingly few readers attempt to read his works. What made Antony Burgess a cult writer was Stanley Kubrick’s adaptation of A Clockwork Orange for the cinema. Moreover, this is supported by the fact that right at the start of his career as a writer in 1962, Burgess’s work was divided into periods. The writer’s most famous works, A Clockwork Orange and The Wanting Seed, belong to the third period which is called the “fantastic” period. The other two periods are the “exotic” – the first, and the “repatriate” – the second. Of all these periods, the readership throughout the world is most familiar with the “fantastic period”. 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 corporations. This being hard to do, though, they ignored the rest of his works and directed their efforts on only one novel. 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. As it is certain that One Hand Clapping was ideologically manipulated and A Clockwork Orange had to undergo some questionably proper linguistic experiments, it is sad to acknowledge that Burgess’s huge legacy is either neglected or translated badly.

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. Thus Burgess’s image is shaped up as an author of experimental fiction, and logically his work was not accepted in the mainstream literature.

The Wanting Seed was conceived in 1961 and was first published in 1962 by Antony Burgess, who at the time had become interested in developing a vision of the possible effects of a demographic disaster after spending several years in the East. The German Translator company assigned in 1988 to Steffen Bretzel the difficult task to translate the novel in German. Burgess was not particularly optimistic and was well aware that his novel had little or no chance at all of becoming a bestseller. The critics accused the novel of being half-baked and he agreed with them pointing out that the novel required a longer thinking, but reworking it would do no good, though it could be expanded to a length that would fit the subject. The plot of the novel is set in ENSPUN – one of the three superpowers the world is divided into. The other two are RUSPUN and CHINSPUN, and the three of them exhibit various means of demographic control. The three phases that the never-ending historical cycle is composed of are Interphase, Gusphase and Pelphase, according to the protagonist of the story, Tristram Foxe, who is a history teacher. The world presented in the novel sees priests who perform their duties underground, homosexuals whose relationships are promoted, women who are branded for conceiving a child and a problem of overpopulation, which only cannibalism can solve.

Far from being a plausible representation of the future the Certified French Translation version can rather be termed as fantasy. Daphnie Alesi believed Burgess was a prophet when she did the French translation. In The Wanting Seed, which she chose to translate, Burgess had to be represented as a futuristic writer. Over the years The Wanting Seed has become a cult novel and this is primarily because of the fact that very few bookstores own copies of the original as it has not been republished either in the U.S. or the U.K. It builds up the image of Burgess as an underground author, whose alternative to the pulp fiction literature is particularly evident. Therefore, only the ardent reader who belongs to the exclusive circle of Burgess fans can discover him as a significant author.

Burgess was depicted as a “fantastic” writer by another translator, who managed the Arabic Translation project was Mohammad Karim. For instance, the cover of A Clockwork Orange shows a face that is very similar to the face that is drawn on the cover of The Wanting Seed. The only person that this can be is Alex, whose mouth is screaming, his mouth is wide open and he has got a cap on his head. When the “helmet” is taken off, what remains is a mouth distorted in a grotesque smile and eyes filled with horror. Obviously, there is a very close connection between the two books. The image suggested by the front covers creates a connection on a subconscious level, so the two novels are not only connected by the author and translator. The Wanting Seed and A Clockwork Orange represent a world that is equally fascinating to the readers – this is the main idea carried across the two novels. The two novels are also complements to one another and represent the same ideas is the other implication – but whether it is true or not is yet to be proved.

A Clockwork Orange is what Antony Burgess is best known for. Nevertheless, several of his other works have also gained him popularity among readership worldwide. One of them is One Hand Clapping which can be interpreted in tune with the Soviet ideology of the time so the Japanese Translation translator has emphasized the fitting passages in the novel and eliminated the unnecessary ones. His name was Kenji Ozaki and he spent hours of laborious work in order to improve Burgess’s otherwise ideologically correct work.

Having attained phenomenal success particularly in Europe, One Hand Clapping was written by Burgess in less than a month and was published in 1961 under the pseudonym of Joseph Kell. The observations of the author of the major changes in the British society are mirrored in the novel after his return from Brunei and Malaya. The new and seemingly alien world of television was what occupied the minds of the young in Britain after the author returned there. His major source of inspiration were the TV programs his first wife Lynne liked watching, which found expression in the plot he was composing. Janet Shirley is the protagonist of the story. She is a French Translation Servicesworker and is interested in material possessions, which finds expression in her making lengthy lists of objects that she and her husband either lack or own. Her only mission in life is to be affluent and live a life of luxury. Howard, her husband wins a thousand pounds in a popular TV Quiz Show one day, and then gambling brings him double the prize. Nevertheless, this does not bring them instant happiness – on the contrary, they start leading a lifestyle which is marked by thoughts of suicide and consequently a murder, insanity, unfaithfulness and laziness.

The materialistic lifestyle and the accumulation of goods are some of the things that are despised in the novel. Music, theatre, painting or literature – these are only some of the spheres in life that the novel appeals to their lowest tastes. The words fascist and communist that are read in the last clause of the talk between Howard and a worker are not translated. Howard, however, is presented as the wiser one in the Portuguese Translation Services version, as he considers democracy leading the world to degradation and does not accept it.

It is quite obvious that Burgess was an advocate of free will, as the borderline between good and evil is not so tangible in a Clockwork Orange. In One Hand Clapping Burgess shows that democracy is deliberately crooked, as the reader is not made to contemplate over whether the communist methods of imposing opinions are acceptable. At a certain point, Howard hires Redvers Glass, a young German Translation Services poet, to write an article about the rottenness and decay of contemporary England, which implies that England is deteriorating, due to its being influenced by the United States. The U.S. being the main object of criticism in the novel, such conclusions are natural to reach.

A book like this was bound to failure in a Communist country, but it was widely read in Eastern Europe. Even though, it entered the Middle East much later the novel was considered as a denunciation for the whole capitalist Western life, its desecrated culture, and money-making as a whole. The Arabic Translation Services were instrumental in the book’s gaining popularity in the United Arab Emirates. First it was turned into a musical in Abu Dhabi and then it was adapted for television in Dubai.