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Laurie Penny: In defence of the “C” word

Men have so many words that they can use to hint at their own sexual power, but we have just the one. Let’s use it and love it.

[Health Warning: as you'd expect, this piece contains language that some may find offensive. Proceed with caution.]

It is, according to Germaine Greer, the one word in the English language that retains the power to shock. This week, after the third BBC newsman in two months – this time the revered Jeremy Paxman – dropped the c-bomb on live television, it appears that the world's best-respected broadcasting operation is in the grip of a collective and extremely specific form of Tourette's syndrome, whereby presenters can't help but slip the worst word of all into casual conversation. One is reminded of those playground horror stories of cursed words, infectious words that, once read or overheard, niggle away in the forefront of your brain until, like poison, you're forced to spit them out, with deadly consequences. But what – ultimately – is so terribly offensive about the word "cunt"?

The word shocks because what it signifies is still considered shocking. Francis Grose's 1785 A Classical Dictionary of the Vulgar Tongue defines "cunt" quite simply as "a nasty name for a nasty thing". All sorts of people have a problem with 'cunt', even those who normally considerthemselves progressive and enlightened: last week, for example, I was invited to speak at a public meeting where I happened to use the word in reference to a member of the audience.

Horrified silence fell in this roomful of hardened activists, followed a few seconds later by nervously appreciative laughter. The incident later exploded on the internet, with some complaining that I had had no right to use such a provocative and shocking word at a meeting; that the word is too aggressive, too graphic. These, for context, are people who are currently cheerleading calls for a general strike and/or the overthrow of the government, but they still consider a young woman saying "cunt" in public a little too, too much.

What is it about that word? Why, in a world of 24-hour porn channels, a world with Rihanna's "Rude Boy" playing on the radio and junior pole-dancing kits sold in Tesco, is the word "cunt" still so shocking? It's a perfectly nice little word, a word with 800 years of history; a word used by Chaucer and by Shakespeare. It's the only word we have to describe the female genitalia that is neither mawkish, nor medical, nor a function of pornography. Semantically, it serves the same function as "dick" or "prick" – a signifier for a sexual organ which can also be used as a descriptor or insult, a word that is not passive, but active, even aggressive.

There are no other truly empowering words for the female genitalia. 'Pussy' is nastily diminutive, as if every woman had a tame and purring pet between her legs, while the medical descriptor "vagina" refers only to a part of the organ, as if women's sexuality were nothing more than a wet hole, or "sheath" in the Latin. Cunt, meanwhile, is a word for the whole thing, a wholesome word, an earthy, dank and lusty word with the merest hint of horny threat. Cunt. It's fantastically difficult to pronounce without baring the teeth.

It is this kind of female sexuality – active, adult female sexuality – that still has the power to horrify even the most forward-thinking logophile. Despite occasional attempts by feminists such as Eve Ensler to "reclaim" the word cunt as the powerful, vital, visceral sexual signifier that it is, the taboo seems only to have become stronger. Media officials avoid it with the superstitious revulsion once reserved for evil-eye words, as if even pronouncing "cunt" might somehow conjure one into existence. The BBC wouldn't be in half so much trouble if James Naughtie had called Jeremy Hunt MP a "prick" or a "wanker" or a "cold-blooded Tory fucker".

For me, "cunt" is, and will always be, a word of power, whether it denotes my own genitals or any obstreperous comrades in the vicinity. The first time I ever used it, I was 12 years old, and being hounded by a group of sixth-form boys who just loved to corner me on the stairs and make hilarious sexy comments. One day, one of them decided it would be funny to pick me up by the waist and shake me. I spat out the words "put me down, you utter cunt", and the boy was so shocked that he dropped me instantly.

Ever since then, "cunt" has been a cherished part of my lexical armour. I use it liberally: in conversation, in the bedroom, and in debates. I only wish I could hear more women saying it, more of us reclaiming "cunt" as a word of sexual potency and common discourse rather than a dirty, forbidden word. If the BBC continues its oily pattern of vulgar logorrhoea, I'd like to hear Julia Bradbury saying it on Countryfile. I'd like to hear Kirsty Young saying it on Desert Island Discs.

Men have so many words that they can use to hint at their own sexual power, but we have just the one, and it's still the worst word you can say on the telly. Let's all get over ourselves about "cunt". Let's use it and love it.

Laurie Penny is a contributing editor to the New Statesman. She is the author of five books, most recently Unspeakable Things.

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Why do the words “soup, swoop, loop de loop” come to mind every time I lift a spoon to my lips?

It’s all thanks to Barry and Anita.

A while ago I was lending a friend the keys to our house. We keep spare keys in a ceramic pot I was given years ago by someone who made it while on an art-school pottery course. “That’s er . . . quite challenging,” the friend said of the pot.

“Is it?” I replied. “I’d stopped noticing how ugly it is.”

“Then it’s a grunty,” she said.

“A what?” I asked.

“A grunty. It’s something you have in your house that’s hideous and useless but you’ve stopped noticing it completely, so it’s effectively invisible.”

I was much taken with this idea and realised that as well as “grunties” there are also “gruntyisms”: things you say or do, though the reason why you say or do them has long since been forgotten. For example, every time we drink soup my wife and I say the same thing, uttered in a strange monotone: we say, “Soup, swoop, loop de loop.” How we came to say “soup, swoop, loop de loop” came about like this.

For a married couple, the years between your mid-thirties and your late forties might be seen as the decade of the bad dinner party. You’re no longer looking for a partner, so the hormonal urge to visit crowded bars has receded, but you are still full of energy so you don’t want to stay in at night, either. Instead, you go to dinner parties attended by other couples you don’t necessarily like that much.

One such couple were called Barry and Anita. Every time we ate at their house Barry would make soup, and when serving it he would invariably say, “There we are: soup, swoop, loop de loop.” After the dinner party, as soon as we were in the minicab going home, me and Linda would start drunkenly talking about what an arse Barry was, saying to each other, in a high-pitched, mocking imitation of his voice: “Please do have some more of this delicious soup, swoop, loop de loop.” Then we’d collapse against each other laughing, convincing the Algerian or Bengali taxi driver once again of the impenetrability and corruption of Western society.

Pretty soon whenever we had soup at home, Linda and I would say to each other, “Soup, swoop, loop de loop,” at first still ridiculing Barry, but eventually we forgot why we were saying it and it became part of the private language every couple develop, employed long after we’d gratefully ceased having soupy dinners with Barry and Anita.

In the early Nineties we had an exchange student staying with us for a year, a Maori girl from the Cook Islands in the southern Pacific. When she returned home she took the expression “soup, swoop, loop de loop” with her and spread it among her extended family, until finally the phrase appeared in an anthropological dissertation: “ ‘Soup swoop, loop de loop.’ Shamanistic Incantations in Rarotongan Food Preparation Rituals” – University of Topeka, 2001. 

This article first appeared in the 21 July 2016 issue of the New Statesman, The English Revolt