Staja 84F. State prison in which Alex is imprisoned for robbery and murder. In this overcrowded, depersonalizing environment, he is addressed by number rather than by name. When a seventh man is thrown into Alex’s cell, originally built for three, it sparks a brawl that ends with the new man dead and Alex again accused of murder. Ironically, this incident wins Alex his freedom. Alex is chosen as a subject for Ludovico’s Technique, a conditioning treatment designed to reform criminals. Given drugs to make him physically ill, he is forced to watch violent films, accompanied by classical music. Within weeks, Alex cannot see or think of violence or hear music without feeling horribly sick.
Municipal Flatblock 18A. Apartment in which Alex lives with his parents. The building’s dingy halls are adorned with a socialist mural showing naked working men and women, their dignity marred by obscene graffiti. The elevators are smashed, so that Alex must walk ten flights up to his small flat. Despite the general dreariness of his surroundings, Alex has made his bedroom an oasis of civilization. Surrounded by stereo speakers on the walls, ceiling, and floors, Alex lies on his bed listening to Bach, Beethoven, and Mozart and dreaming violent dreams. When Alex returns home after his nonviolence conditioning, he is surprised to find the walls free of graffiti and the elevators running, and his stereo and albums sold.
Korova Milkbar. Public drinking place in which the novel opens; a favorite haunt of Alex and his droogs. The milkbar has no liquor license but sells milk laced with drugs, either hallucinogens or stimulants.
HOME. Cottage in a village outside the city that is the home of the writer F. Alexander. Following a night of violence in the city, Alex and his droogs drive out to the country and stop at a comfortable middle-class cottage with a sign reading “HOME.” In the course of their break-in, which ends with the beating of F. Alexander and the rape of his wife, Alex reads part of Alexander’s work, A Clockwork Orange, in manuscript. The book, which gives Burgess’s novel its title and central metaphor, is a condemnation of the attempt to impose upon human beings restrictions appropriate to machines. The writer’s home, like the houses in Oldtown, seems a relic of an older, gentler era.
Alex returns to HOME as a victim. Released from prison, he is driven to the country by his former droogs, now policemen, and beaten. He makes his way to F. Alexander’s place, where the writer, not recognizing Alex, who had worn a mask during the break-in, welcomes him. F. Alexander’s cottage, warm and cozy, seems to offer Alex salvation, but it turns into another trap for him. The writer’s political cronies want to martyr Alex to the cause of liberty, even commenting that it would be better for their purpose if he could look worse than he does. They spirit him to another flatblock, lock him in a room, and play music until Alex, maddened from pain, jumps from the window.