n identity; he cannot undo her categorization of “piggishness” with the Brady family, therefore he must eliminate the source of this identity. The most troubling aspect of both dystopias and their violent protagonists is the morbid fascination we experience, despite their disturbing acts. Readers of A Clockwork Orange may be sickened by Alex’s description of the red “krovvy” (Nadsat term for ‘blood’) flowing “beautiful”, by Burgess’s stylization of language to describe something hardly ever associated with ‘attraction’. Howeve¬r, the depiction of demonic teens in the novel, particularly after the release of Kubrick’s movie version, spawned many copycat crimes, proving that there really is something about ultraviolence that appeals to people. Burgess explained it as follows: “Unfortunately there is so much original sin in us all that we find evil rather attractive. To devastate is easier and more spectacular than to create. We like to have the pants scared off us by visions of cosmic destruction.” A Clockwork Orange presents the attraction to evil as a natural part of being human. Alex does evil simply because he likes to. While his violence cannot be condoned, perhaps the point is that violence and evil must be recognized as a natural part of humanity—just as natural as good. It will never be eradicated, as long as free will exists, simply because deep down, humans find it attractive. However, having said this, some would hold the thought that ‘A Clockwork Orange is not about violence’ as theorized by the author Steven M. Chan; whilst on the one hand many would say that the novel is glorifying violence (hence its cause for the infamous copycat murders), while others on the other hand would disagree and say it is condemning it, Cahn would disagree with both opinions, and concludes that the novel is in fact ‘a dramatization of the view that no human being is right when he calls himself “free”’. Burgess utilizes this set-up to expose the defining characteristic of a dystopia: the forceful revocation of free will from the people. It is the underlying characteristic of all aspects of a dystopia, from oppression, to censorship, to lack of individual rights, to surveillance; the inherent evil that lingers underneath all of these qualities is that moral choice is not an option. Burgess states in the introduction: “…by definition, a human being is endowed with free will. He can use this to choose between good and evil. If he can only perform good or only perfor>