Both A Clockwork Orange and The Butcher Boy explore identity crisis as a result of these dystopian realities/mindsets, particularly due to political chaos, a lack of authority and counterculture explored in these texts. In the dystopian world of the first part of A Clockwork Orange, Alex’s effort to construct his self and identity in a dysfunctional family and a disordered society seems to be all in vain. The lack of any functional family system in which Alex can “interact with mature and fully realized adult selves” and its manifestation in Alex may also be characterized as dystopian. Another form of violence in the novel is domestic violence, which is partially implied. We know that Alex’s parents are scared of Alex and lest he should impose violence on them, they never complain of his disturbing behaviours such as the blare of music. On one occasion Alex tells us: “[They] had learnt now not to knock on the wall with complaints of what they called noise. I had taught them. Now they would take sleep-pills. Perhaps, knowing the joy I had in my night music, they had already taken them”. In another instance he tells that his mum “called in in a very respectful gloss, as she did now I was growing up big and strong”. It is not very hard to guess the underlying cause of his mum’s respect to him as her wish to prevent the likely violence at home. The gang’s choice to alienate themselves from the society in which they live due to their use of a language called Nadsat10 actually invented by Burgess as an argot which has “harsh, Russian-accented diction” can be viewed as another dystopian element in the novel. As the author Carl E. Rollyson noted, Burgess’s Russian-influenced slang “creates a strange and distant world. The reader approaches the novel as an outsider to that world and must try diligently to decode it to understand it”. Thus, the novel’s own creation of the identity of the British youth as a whole in the seventies is also represented; after all, the Nadsat language emerges as an aggression towards the standard English language, and becomes an unavoidable element of the new youth culture in Britain. Burgess portrays the increasing tendency to use this anti-language among the young generation which is made clear in: “Droogs, aren’t we? It isn’t right droogs should behave thiswise. See, there are some loose-lipped malchicks o’c’er there smecking at us, leering like. We mustn’t let ourselves down…There has to be a leader. Discipline there has to be.” The harsh diction of these words such as “smecking” indicates the violent nature of these Droogs, and whilst they vow to maintain control, their language ironically implies that they solely thrive off of ch>