Spring has sprung

Spring has sprung
by Rocci Fisch, American political commentator

Spring has sprung
The college kids, their worries flung
Others too, the visitors came
Wall-to-wall to lay their claim
In crowds they were, Miami Beach
To celebrate, a break for each
Maskless people all around
Social distance run aground
Covid lurks, seeks spreader events
Disperse those kids, try to prevent
Institute curfew, 8 p.m.
But partying went on, and cops moved in
Tensions rose, pepper balls fired
A stampede fled, party time expired

Shooting rampage
Violence again on front stage
Atlanta-area spas, the location
Another mass shooting causes vexation
Eight gunned down, six were Asian
Was hate the causation?
Sex addiction, suspect says why he aimed
Two were white, others maimed
Asian Lives Matter, banner signs
Threats and attacks don’t decline
Community, lawmakers express concern
Bigotry and hatred continue to burn
Sexism, racism, are they the cause?
Calls for authorities to give pause

Children in custody down at the border
Packed in big rooms, much disorder
Press denied access, what happened to transparency
Is it  a case of complacency
Delegations made trips, inspected conditions
“Life and death emergency,” afraid of depiction?
A situation out of control
Politics stealing souls

No foreigners allowed: Tokyo Olympic Games
Another thing covid has wreaked and maimed
Europe lockdowns aplenty
U.K., Paris, Germany practically empty
Poland, Austria, Finland victims too
Third wave now targeting, will hope renew?

Tax Day extended, more time to file
Was April 15, now May 17, you’ve got a while

Outer perimeter fencing removed
Of Capitol grounds, the look is improved
Cutting down that awful barbed wire
Hope no more insurrections transpire

Tussauds Palace of Wax in San Antonio, the place
Where a wax figure of Donald Trump was defaced
Punched and scratched, it had to be removed
A storage unit now its home, his detractors soothed
But return he will, the gallery assures
When Biden’s put up as part of the tour


Aside from the metaphorical meanings of the title of Stanley Kubrick’s A Clockwork Orange (1971), the name reportedly came from an off-hand Cockney expression, “as queer as a clockwork orange,” which the source novel’s author, Anthony Burgess, claimed he heard in a London pub before World War II, decades before publishing his famous work in 1962. Burgess has written and spoken about the title on several occasions. In an introduction called “A Clockwork Orange Resucked,” he refers to a person who “has the appearance of an organism lovely with colour and juice but is in fact only a clockwork toy to be wound up by God or the Devil or (since this is increasingly replacing both) the Almighty State.” On the television programme Camera Three in 1972, he explained, “I’ve implied the junction of the organic, the lively, the sweet – in other words, life, the orange – and the mechanical, the cold, the disciplined. I’ve brought them together in this kind of oxymoron, this sour-sweet word.”

In the film adaptation, however, Kubrick touches upon these themes without explicitly breaking down the title, leaving its specific meaning more open to the audience’s interpretation.

Still, Kubrick has shared analysis of the film’s central issues. In an interview with Michael Ciment, a French film critic and editor of the cinematic magazine Positif, the director stated, “The film explores the difficulties of reconciling the conflict between individual freedom and social order. Alex exercises his freedom to be a vicious thug until the State turns him into a harmless zombie no longer able to choose between good and evil. One of the conclusions of the film is, of course, that there are limits to which society should go in maintaining law and order. Society should not do the wrong thing for the right reason, even though it frequently does the right thing for the wrong reason.”

In Kubrick’s film adaptation, Alex (Malcolm McDowell) and his fellow droogs break into the house of the writer Mr. Alexander (Patrick Magee), beat him, and rape his wife (Adrienne Corri), while Alex does his famous cover of Gene Kelly’s “Singing in the Rain.”

However, in Burgess’ novel, when Alex breaks in, Mr. Alexander is writing a manuscript entitled A Clockwork Orange, which protests the nation’s increasingly authoritarian government, declaring, “The attempt to impose upon man, a creature of growth and capable of sweetness… laws and conditions appropriate to a mechanical creation, against this I raise my sword-pen.” Alex discovers the manuscript and mockingly reads the piece aloud. The protagonist/antagonist doesn’t understand it, even though the thesis foreshadows his future state and dissects the complex title.