Senator Elizabeth Warren, the planful Massachusetts Democrat, is not the presidential candidate who comes to mind when one thinks of political potty-mouths. (See Ben Zimmer’s 2019 Tucker Awards for examples of public swearing from Beto O’Rourke and Tim Ryan, who are no longer in the race, and from Donald J. Trump, who for the time being is.) So it was a bit of a surprise when Warren’s campaign adopted “LFG” as an unofficial campaign slogan and began selling “You and Me LFG” merchandise.
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.)
Ass shows up a lot on Strong Language. We’ve looked at kick ass and my ass, lick-my-ass and assclowns and asshats, among other-ass things – or other ass-things, if you prefer the xkcd hyphenation. (See Language Log for a lit-ass –ass lit review.)
As a suffix, –ass is used to form ‘generally negative (but increasingly positive too) adjectives and occasionally nouns’, notes Green’s Dictionary of Slang. This Janus nature recurs in slang, as in the contradictory shit vs. the shit. And you can’t spell Janus without anus.
A search for ass on GDoS currently yields 137 results, and the main entry for ass (n.) has 184 subentries, with compounds like ass-bucket (‘unpopular or unimportant person’) and expressions like give up the ass (‘accede to seduction’) and up to one’s ass in alligators (‘in very serious troubles’).
Ass, in short, gets around. It’s a seriously productive-ass piece of vocabulary.
Recently, my father and I were enjoying a pleasant train ride through the Irish countryside to visit some family friends. Our conversation, as it does, went to –shit. Chickenshit, specifically.
I don’t recall what occasioned our chuckling about chickenshit, not that one ever needs a reason, but soon our chatter turned to other piles of -shit, e.g., bullshit, batshit, jackshit, the shit-list goes on. This put to mind, of course, Strong Language, where we’ve been well covered in –shit words over the years, memorably Kory Stamper on dipshit, Mark Peters on frogshit, and Ben Zimmer on ripshit.
I was curious about how English’s many species of –shits, whether they be formed by compounding or affixation, relate to one another. So, naturally, I made a matrix—a matrix of –shits—comparing them by kind and degree.
Expletive infixing is a much-loved mode of profanity. Is profanity good for you? Absofuckinglutely. Does infixing serve profanity as what James B. McMillan once called an “emotional stress amplifier”? I guarangoddamntee it. For most of us, infixings like these and interposings like shut the fuck up aren’t everyday speech, but nowadays, they’re hardly shocking. If you’re just not paying attention to your conversation, an infixing might take you by surprise, but the surprise will be mild, and the forms cleave so well to rules that they are obviously — gasp! — conventional. How does one draw attention to the unconventionality of one’s speech when infixing gets — yawn — a bit tired?
In fact, the rules of infixing are constantly under construction and repertoire of profanity thus constantly renewed. A March 2016 post at Celebslam, “Model at Midnight,” celebrated the Polish model Kate Sajur’s putatively “sweet rack.” It attracted the attention of Carmen Ribecca of The Superficial, an even better celebrity gossip site. Ribecca’s “good morning” post of April 1, 2016, included “Hell the fuck to the lo Kate Sajur” among several other enticing links. I’m less interested in the rack than I am in Ribecca’s novel twist on infixing. Like much other slang and profanity, Ribecca’s headline is poetic. Like many on-the-fly poets, Ribecca does what Ezra Pound exhorted poets to do when they could find nothing new under the sun: “Make it new.”