Fags and faggots

This is a guest post by H.S. Cross, the author of the novels Grievous (FSG, 2019) and Wilberforce (FSG, 2015).

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Americans are familiar with the word fag as a gay slur, but across the pond, this is not necessarily the case. When I first encountered the word in English boarding school novels, I was shocked, but I soon learned that there was more to fag than ugly insults hurled on Christopher Street. The word has a long history, stretching back to the early 1300s, but it was not until the 1920s that it began to be used in the context of sexuality. For seven centuries, fag and faggot were not strong language but instead commonplace in schools, government, work, agriculture, and sports, chiefly in Britain.

I write fiction set in an English boarding school between the World Wars, so I have to deal with the word fag all the time in one of its non-derogatory usages. A reviewer once praised me (I think?) for my “unflinching use of the word fag,” as if there were a way around the word in the English school context. There isn’t.

Sweary semantics in The Royal Tenenbaums

Wes Anderson’s 2001 film The Royal Tenenbaums features a short exchange that’s interesting for its taboo-linguistic detail. It takes place between Royal himself, played by Gene Hackman, and Henry, played by Danny Glover.

If you haven’t seen the film, but you might sometime (do, dammit), don’t worry about spoilers – the images below don’t give much away. And you don’t need to know the characters’ backstory, so let’s jump right in:

Pussyfooting around FUCT

Oral argument at the U.S. Supreme Court yesterday in Iancu v. Brunetti centered on the word FUCT. Well, sort of. As one of the lawyers fussily put it, it centered on “the equivalent of the past participle form of the paradigmatic profane word in our culture.” Right. FUCT.

The case is all about offensive, shocking and profane language. Yet the Justices and the parties’ attorneys pussyfooted around for an hour, steering the argument clear of anything even remotely R-rated. The attitude that there are several words so offensive they cannot be spoken aloud dominated the hearing. It may well dominate the Court’s eventual opinion.

Here’s the backdrop for all of that tiptoeing around those unspeakably naughty words.

Shiiiiiit: The how and why of swearing in TV series

This is a guest post by Monika Bednarek, a linguist who has extensively analyzed US TV series. She is the author of Language and Television Series and the editor of Creating Dialogue for TV, a collection of interviews with Hollywood screenwriters. She has created a companion website at www.syd-tv.com and tweets at @corpusling.

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The use of swear words in US TV series attracts a lot of attention. There are those who revel in creating mash-ups of swearing, and there are those who monitor and oppose swearing (like the Parents Television Council). Rules by the Federal Communications Commission restrict the broadcasting of profane and indecent speech to the evening and night and forbid obscene speech. But these rules don’t apply to subscription-based television such as cable or streaming services. Elsewhere I’ve looked at how frequent swearing is, but here I want to approach swearing a little differently. Basically, what I’m asking is: How do TV series use swear words? And what are their functions?

Let’s start with the first question. Most TV series do seem to use at least one swear word, especially if expressions such as oh my god are counted. But there are a lot of different ways in which TV series can handle swears. I’ve tried to catalogue some of these below.

“A-cute-cute in a stupid-ass way”

With the passing of Scott Walker, who found pop-music fame as a member of the Walker Brothers before setting out on an inimitable solo career, the singer’s best-known work has been making the rounds online. One particularly memorable song from Walker was his first solo single, “Jackie,” released in December 1967. “Jackie” was an English-language rendering of Jacques Brel’s “La chanson de Jacky,” translated from French by Mort Shuman (a Brill Building songwriter who would go on to co-create the musical revue Jacques Brel is Alive and Well and Living in Paris). Both the French and English lyrics were quite racy for the time. The English chorus, as unforgettably delivered by Walker, goes:

If I could be for only an hour
If I could be for an hour every day
If I could be for just one little hour
A-cute-cute in a stupid-ass way