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Family and the Politics of Fear in Nineteen Eighty-Four, A Clockwork Orange and Christie Malry’s Own Double-Entry

This paper focuses on the dystopian significance of concepts of family and fear in Orwell’s Nineteen Eighty-Four, Burgess’s A Clockwork Orange and Johnson’s Christie Malry’s Own Double-Entry. The children represented in these works are depicted as either products of the totalitarian societies they belong to or their own personal value systems, however distorted those might be. In any case, the children of these families are no longer theirs. The communities and families concerned manipulate their members to generate desirable social structures that work best in a dystopian society. This they generally and most successfully achieve through fear’s persistent influence on all levels of the organization of human existence. Consequently, the novels present the reader with a self-sustained political power preserved by an unending stimulation of fear conditioned into its individuals through the family unit that exists only to serve the purposes of the state.