Blue Velvet is a film with an enduring power to unsettle viewers. Its unique brand of ‘darkness in colour’ (to borrow Pauline Kael’s phrase) features also at the level of language, with the cornball goofing of its young sweethearts set against the malevolent and compulsive profanity of Frank Booth, played by Dennis Hopper.
For his book Lynch on Lynch, Chris Rodley asked David Lynch if all of Frank’s fucks were in the script or if any were improvised. Lynch replied:
I had many, many, many of them written in the script, but Dennis always added more, because you get on a roll, and you can’t help yourself. And if an actor is locked into the groove so solidly, even if they say extra lines, or not exactly the way they’re written, they’re truthful. And for me Dennis was one of those guys. He always says that I could never say the word on set and that I would go to the script and say, ‘Dennis, when you say this word.’ [Laughs.] That’s not true exactly.
The filmmakers initially passed on Hopper because of his reputation, but the actor persisted and Lynch, thankfully, reconsidered. Without presuming to psychoanalyze Booth – ‘there’s enough material there for an entire conference,’ as the psychiatrist said of Basil Fawlty – we can see in his profanilect* motifs of incest, defecation, and violence, among other things. He swears inventively but also routinely, and constantly.
Enough fucking about. Let’s look at some examples. (Spoiler and trigger warnings ahoy.)
Mark Wahlberg and Will Ferrell are on a press junket, promoting their new film Daddy’s Home 2. (Any comments about the quality of this franchise or the need for a sequel will be summarily ignored.) This week, one stop on that tour was with the Israeli website ynet (the online arm of the newspaper Yedioth Ahronoth). During the interview, Ferrell was asked about Wahlberg’s “profound knowledge of Hebrew”, which Wahlberg was then happy to demonstrate. And, like any good language learner, his knowledge apparently includes a wealth of profanity, which I’ll lay out below. Continue reading
The news has travelled around the world: It’s OK to swear on the radio in Canada now!
Only… it’s not quite what the headlines make it. This is more a story of one listener telling a French-language radio station to shut the fuck up, and the Canadian Broadcasting Standards Council telling that listener to sit the fuck down. It’s not open “fuck” season all day all the time on all Canadian radio from coast to coast to coast. It’s just an acknowledgement that the word fuck is no more offensive to French-Canadians at large than the word screw is to English-speaking Canadians.
But let’s start with some background.
Swearing on the air in Canada
First of all: You’ve been able to say “fuck” on the air in Canada – in English-speaking Canada, even – for years, within specific limits. Continue reading
Soon after Samuel Johnson’s Dictionary was published in 1755, so the story goes, he was approached by a pair of prudish readers who commended him for omitting ‘improper’ words. Johnson, according to one account, replied to the women: ‘What! my dears! then you have been looking for them?’
Today you can find improper words in any good dictionary – but only the main set. Fuck is there, but not fuckish, fuckfaced, fuck-nutty, fuck my old boots!, or fuck the dog and sell the pups. You’ll see shit in the usual sources, but good luck finding shit-breath, shit factory, shit-squirting, shit out, or shit on the dining room table.* Regular dictionaries just don’t cover the remarkable range of taboo vocabulary, nor should they.
For this we turn to specialist slang dictionaries. These do not shy from obscenity but embrace it in all its mutable monstrousness (I say this as someone who loves monsters, and mutants). And the best slang dictionary in existence – it defines, expertly, all the phrases above and thousands like them – is Green’s Dictionary of Slang (GDoS). Last year it went online. If that’s news to you, prepare for a treat.
This is a guest post by Orin Hargraves, an independent lexicographer, language researcher, and past president of the Dictionary Society of North America. Orin is the author of several language reference books, including It’s Been Said Before: A Guide to the Use and Abuse of Clichés (Oxford) and Slang Rules!: A Practical Guide for English Learners (Merriam-Webster).
A few years ago I wrote about how collocations in fiction skew the statistics of collocations in a corpus because of their extremely frequent use; Ben Zimmer expanded on the idea in a later New York Times piece. In summary, the point is that a number of collocations would not be statistically significant were it not for their appearance in fiction. This is because writers of fiction—particularly writers of the amateur, unedited fiction that appears online—tend to reuse the same tropes and phrases so much that these effectively become clichés, formulaic ways of expressing the same (rather tired) ideas and events.
All of that came to light when I was working with the Oxford English Corpus, a well balanced and carefully curated corpus that, at the time, had about two billion words of English. These days I’m working with the enTenTen13 corpus, a web-crawled corpus of nearly 20 billion words, owned and made available by Sketch Engine. Sketch Engine’s web-crawler roves the Internet indiscriminately, pulling text from wherever it can be found. Like some grandmother aghast in Greenville, the web-crawler regularly comes upon sites with pornographic content. The difference between the grandmother and the web-crawler is that while she may avert her gaze in shock and dismay, the web-crawler grabs the text, parses and tags it, and adds it to the corpus. The result is that enTenTen13 houses a steaming, pulsating trove of pornographic writing.