When dance-lord Michael Flatley said he would perform at Donald Trump’s inauguration ball in January, someone cheekily redirected colossalbellend.com to Flatley’s website. (It now points to Trump’s Twitter page.) Reporting on the story, the Guardian noted: ‘Bellend is a British insult.’
Helpful, but short on detail. What kind of insult is bell-end? What does it mean, and how is it used? Where did it come from, and when, and why? And what’s bell end brie? If you gotta have more bell-end, you’re in the right place: Let Strong Language ring your bell.
Fuck, shit, bollocks, twat, bloody, and cunt are not the seven words you can never say on television – they’re six words that Susie Dent has said on television. Susie Dent’s Guide to Swearing, a new mini-series from Channel 4, offers an informative and irreverent summary of the history and use of some of our favourite bad words. You can watch the full series below.
A word-history specialist and broadcaster, Dent has written several books on language, most recently Dent’s Modern Tribes. She is best known as the resident lexicographer in ‘dictionary corner’ on Countdown, a perennially popular British TV game show. We can’t not mention that Countdown inadvertently produces the odd rude word to great general amusement.
Though she went to a convent school and was not allowed to swear at home (aside from an occasional bloody that ‘managed to fly below the radar’), Dent tells me she didn’t rebel into foulmouthedness. She loves swear words but doesn’t swear often – except at moments of stress or pain, when it ‘most definitely helps’. There’s a word for that:
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.
The recent launch of the second edition of the Australian National Dictionary (AND) gave me a chance to indulge in my long-time hobby of looking up the swear words. I’m looking forward to sharing some of my favourite home-grown colourful language in a future post, but I want to start with an entry that gives me the kind of pride that others expended on the Olympic Games last month.
The entry for fuckwit (p. 647) includes the note:
Used elsewhere but recorded earliest in Australia
That’s right. Australia is the home of the fuckwit. The earliest citation in the AND and the Oxford English Dictionary is from Alex Buzo’s 1970 play The Front Room Boys. The earliest non-Australian citation in the OED is from a 1992 article in Making Music magazine from America.
The second edition of the AND expands the citations for fuckwit, makes a clearer distinction between nominal and adjectival use, and (most importantly) adds an earlier citation for fuckwitted. Here are the entries, along with the earliest few citations:
One of the more entertaining literary spats of recent times was between two biographers of the poet John Betjeman (1906–84). It kicked off in earnest when A.N. Wilson, in a review at The Spectator in 2002, described Bevis Hillier’s biography of Betjeman as a ‘hopeless mishmash’:
Some reviewers would say that it was badly written, but the trouble is, it isn’t really written at all. It is hurled together, without any apparent distinction between what might or might not interest the reader. . . . Bevis Hillier was simply not up to the task which he set himself.
Hillier’s three-volume authorised work had taken him 25 years, and he was none too pleased to see it dismissed so. Years later he described Wilson as ‘despicable’. But harsh words were not enough: Hillier wanted retribution, and he got his chance when Wilson undertook to write his own biography of Betjeman.