The idiolect that has been crafted by Antony Burgess in his writing - taking into account that such a language never existed is in fact both innovative and peculiar. 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. Never before has English experienced such a presentation that it was made to undergo by Burgess 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 Translator 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 dialect used by Alex, places the novel within the framework of our cultural environment as the translator views both the language and the plot of A Clockwork Orange (growing criminality and increasing boldness and brutality shown by young hooligans) as indicators of the tendencies that our modern world is to expect.
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. Fortunately, A Clockwork Orange was adapted for the cinema by Stanley Kubrick, which gained Antony Burgess a cult status. 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. Only the "fantastic period" is familiar to the readership around the globe and has earned the author some popuarity. We are certainly misled about Burgess’s literary heritage by the limited selection of his works which were published and translated. The majority of translators had to use Certified New York Translation Services companies in order to obtain the right to translate his books. They concentrated on only one novel, as this was difficult, and were forced to ignore the rest of his works. As only a small number of Burgess's novels have been translated we often wrongly tend to consider him as the author of one book only - A Clockwork Orange. Unfortunately, Burgess’s vast heritage is either neglected or translated badly; for example One Hand Clapping was ideologically manipulated, while A Clockwork Orange had to go through some arguably appropriate linguistic experiments.
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. Masterfully rendered into French by the French Translator, One Hand Clapping is a novel that will present interest to those who want to learn about the manipulative machine that uses literature for propaganda. Thus Burgess's image is shaped up as an author of experimental fiction, and logically his work was not accepted in the mainstream literature.