Chatsky, or The Importance of Being Stupid is Burgess’s translation of Alexander Sergeyevich Griboyedov’s play Gore ot Uma (Woe Out of Wit), and is one of the last pieces of work he undertook. Burgess completed the translation around Easter 1991, but would have to wait until 11 March 1993 for it to be performed […]
Anthony Burgess was nominated for a Grammy in 1974 for his work on the musical version of Edmond Rostand’s Cyrano de Bergerac. He shared the honour with his collaborator Michael J Lewis, a Welsh composer of music for film and theatre. Burgess was originally commissioned to translate Cyrano de Bergerac by the Tyrone Guthrie Theater […]
Burgess’s inscribed copy of Sinclair Lewis’s It Can’t Happen Here (1935) displays the tag-line ‘The Ultimate Triumph of the Silent Majority’, something that indicates the novel’s relevance today. Burgess says in The Novel Now (1967), the book proves that ‘America can have its own bad dreams’, with antagonist Senator ‘Buzz’ Windrip securing presidential victory, dissolving […]
In 1975, Anthony Burgess was approached by Richard-Gabriel Rummonds to provide an original piece of writing for a new publication. Rummond’s Plain Wrapper Press was based in Verona, Italy, and was well regarded as a publisher of fine-press books, especially after the success of Jorge Luis Borges’s Seven Saxon Poems in 1974. This volume contained […]
The first object is the bust of Anthony Burgess by the American artist Milton Hebald (1917-2015). This bust appeared on the front cover of both volumes of Burgess’s biography, Little Wilson and Big God (1987) and You’ve Had Your Time (1990). It was made in 1970, when Burgess and his second wife Liana had recently […]
Our new exhibition examines Anthony Burgess’s experiences in Malaya in the 1950s, where he worked as a teacher at the Malay College in Kuala Kangsar and at the Malayan Teachers’ Training College at Kota Bharu in the district of Kelantan. As a fluent speaker of Malay and Chinese, Burgess was able to experience the […]
The actual Observer / Anthony Burgess Arts Journalism prize is an elegant thing of modernist beauty — a clear Perspex block, small and neat, stamped with the picture of a stylish black typewriter. It is, charmingly, modelled after an arts journalism prize once won by Burgess himself (this detail tells something of the care with […]
Being awarded the Observer/Anthony Burgess Prize was an unbelievable privilege. Apart from being published in the Observer and the cash prize (which I put towards research trips for future writing), it was an invaluable insight into newspapers’ commissioning processes. I’m very grateful for the contact and guidance I’ve had since. It was a pleasure to […]
What makes good criticism? It’s a big question, especially in this age where there are more critics than ever. Specialist blogs proliferate; anyone with a social media handle can review the latest films, novels, albums, plates of food…. Firstly, it’s important to separate general cultural criticism from academic criticism. The latter is deep-delving, forensically detailed. […]
I am delighted to be judging the Anthony Burgess prize. At a time when the arts pages in many of our newspapers are under threat, it seems doubly important to celebrate the role of arts journalism both as a necessary tool in enabling the circulation of books, pictures and films and as an art form […]