Among the many choices that a writer must do when working on their style, or simply to the characterization of a character, a scene of a work over another, there is the acceptance or not to use slang, vulgar, cuss words .
The choice is more significant than it might seem, since the words of a book are like the cells of a body, and more are all cells ... speakers. what I mean, as well as: that atmosphere, we want to create that feeling? We want to disgust the reader, upset, and then we need a description and granguignolesca trivial, or we can do without it and refer the same effect with other elements? We want the reader giggled our vocabulary, which receives an air of relaxed and colloquial, or hope to impress upon him with a curse? Ben will be the big words if they're functional to the text must have a sense, a bit 'like blood and sex, after all. Help him publish a book? Who knows: it depends if it is a good book ...
In this regard we have found an interesting reflection of Gianni Turchetta who devotes to the subject a short essay ( in the slums of language, in AA.VV., Circulation '10. public Authors Publishers , Basic Books, 2010) and referred to willingly share an excerpt:
The full literary legitimacy, if not fundamentalist, worst of all things, that all the worst words that the Italian language, dialects and even languages \u200b\u200bof our writers provide not mean that lowering the same style and systematic practice of swearing have lost all their bite of expression, much less that they were degraded to a kind of linguistic jam, spread a little 'anywhere. Now, it must be said, a "dick" or a "fuck you" do not be denied to anyone, and few people were shocked. [...] But there are different ways to make use of the lower registers of language, literature and perhaps still manages to retain the right and, even more importantly, the ability to make us surprises.
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