Soon we may have all sorts of COCK-formative trademarks engorging the United States Patent and Trademark Office (USPTO) database because the bar on registering scandalous trademarks is dying a slow death. But the current COCK-related trademark controversy is more complicated and, frankly, less fun than the pending application for COCK SUCKER for candy in the shape of a rooster.
Faleena Hopkins has written several self-published romance novels, among them the Cocker Brothers of Atlanta series, also called the Cocky series. These brothers, though they have cockiness and, apparently, horniness in common, have chosen diverse paths in life. Titles in the series thus include Cocky Marine, Cocky Cowboy, Cocky Genius and Cocky Senator.
After publishing a number of books in the series, Hopkins went on to obtain two federal trademark registrations for COCKY. She owns one for COCKY in no particular font for “a series of books in the field of romance” and “a series of downloadable e-books in the field of romance,” issued April 17, 2018. And another stylized mark for the same goods, issued May 1, 2018:
Armed with her registration, Hopkins appears to have used the Amazon Brand Registry to have Amazon take down several novels with “Cocky” in the title. (The ABR requires a trademark registration.) She has also sent out several cease and desist letters to individual authors with “Cocky” titles.
This has pissed the publishing community off royally. For the full shitstorm, check out #cockygate on Twitter. Just brace yourself for the vitriol. The Romance Writers of America trade association is consulting with legal counsel to figure out how to stop Hopkins, and a Moveon.org petition urging the USPTO to cancel Hopkins’ trademark registrations has almost 27,000 signatures as of this writing. Continue reading
I recently read Åsa Larsson’s The Savage Altar, translated into English from the original Swedish. It was a perfectly Scandinavian murder mystery, and for the majority of the book I did not notice it was a work in translation. There was one thing that kept tripping me up as I read:
This is a guest post by Alon Lischinsky, Senior Lecturer in Communication and Discourse at Oxford Brookes University, who — after working many years on materials like management books and corporate annual reports — is now studying the language of porn using corpus linguistics. He tweets at @alischinsky.
The British police drama Broadchurch can be gritty, uncompromising and bleak, but rarely sweary. Despite the grim events that rock the small coastal town, whole episodes pass without any strong language other than the occasional expletive shit or bloody hell. By the time that Cath Atwood gets coarse in S03E05, it’s because her husband and best friend’s affair has truly fucked her up:
Earlier this month, Whores of Yore published a set of letters that James Joyce wrote to his wife, Nora Barnacle. These letters are taken from Richard Ellmann’s Selected Letters of James Joyce (Faber & Faber, London), and they are delightfully raunchy filth. Joyce’s discussion of topics including masturbation, anal sex, coprophilia and his sexual desire for his wife are frank enough to even make a Strong Language reader blush a little.
Before I’d even stopped blushing, there were some words that got me thinking. And so, I present some annotations to some of the language in the letters. Thanks to Green’s Dictionary of Slang, The Oxford English Dictionary (OED), Merriam-Webster (MW) and Dictionary.com for providing a trove of information.
“Nora, my faithful darling, my sweet-eyed blackguard schoolgirl, be my whore, my mistress, as much as you like” (2 December 1909)
Here Joyce affectionately uses a term that means ‘dishonourable’ or ‘villainous’, which may be lost on the modern reader. He also uses the term a half a dozen times in Ulysses, but only ever in reference to men.
Shakespeare’s The Winter’s Tale is best known for what’s probably the most famous stage direction in the history of English drama: “Exit, pursued by a bear” (3.3.57). But the Bard slips in another memorable line that’s sure to get a rise out of lovers of language – and pleasure. At one point, a servant describes Autolycus, a rascally, villainous pedlar who shows up at a local feast:
He hath songs for man or woman, of all sizes; no milliner can so fit his customers with gloves. He has the prettiest love songs for maids, so without bawdry, which is strange with such delicate burdens of dildos and fadings, ‘Jump her and thump her’; and where some stretch-mouthed rascal would, as it were, mean mischief and break a foul gap into the matter, he makes the maid to answer, ‘Whoop, do me no harm, good man’; puts him off, slights him, with ‘Whoop, do me no harm, good man!’ (4.4.190-98)
Burden of…dildos?! That’s right: Shakespeare used the word dildo.