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If you have never read the novel Ender’s Game, by Orson Scott Card, I suggest you do so, as it is probably one of the best novels of the last half-century or so, especially in the science fiction field (although the “science” part is mostly incidental). I say that to begin with, since that’s probably the last good thing I have to write about Card. For reasons I don’t fully fathom I have Card’s blog site bookmarked (okay, I know in part, as he does talk about some stuff that is of interest to me). Generally Card is becoming a caricature, a buffoon who lashes out at “liberals” and “Hollywood” while bemoaning how Christians and conservatives are painted with broad strokes. Until now I never really felt the need to touch on something he’s written.
Uncle Orson Reviews Everything
In the link above he reviews The Lincoln Lawyer, The Company Men, and American Idol. The specific section I want to highlight is when he questions the use of the f-word (for the uninitiated, he means “fuck”).
“Raise your had if movie people are the only ones who ever use the word in your presence.” The assumption is that you will of course not raise your hand, as he goes to point out that “most of us, as grownups, don't feel the need to use the word. It's such an adolescent thing.” In fairness to Mr. Card, he was raised under the Church of Jesus Christ of Latter-Day Saints and attended Brigham Young University, so there is reason to believe that, at least in that part of his life, the use of the word was minimal.
I was raised in Bible Belt states and worked in fast food, a chicken plant, and the Air Force. In my over twenty years in the Air Force, I do not believe there has been one working day in which I did not hear this word--from the lowest of airmen to generals to leaders in the intelligence field. I do not have any objection to Card not using the word in his fiction (most of his works that I’ve read of his had settings that would have made use of the word strange and off-putting), but I could also query why the use of a word is taboo to him but (in his writing) murder is not.
In chastising anybody who uses the word in fiction Card writes, “it isn't only screenwriters and talentless comedians who need to outgrow the F-word habit. When writers tell me, ‘But that's how my character would really talk,’ I always answer, ‘And do you also have to show us how they really wipe their bums after they poop? No? You're able to leave out that extremely realistic trait of your characters? Then why not keep their poopy language out of our heads, too?’"
I actually admire this question, not because of its content, but because if any writer is unable to answer it, then we know that is not a writer worth reading. How many stories have you read in which pooping is vital (maybe it says something about me, but I can actually name some)? Now, how many stories have you read in which talking is vital? Yes, it’s a nice question if not paid proper attention, but it falls apart rather easily. If you write about young boys or Native Americans or a married couple (Ender’s Game, Alvin the Maker, Lost Boys), then it’s quite easy to not use the word. Of course, Card has written more than this, but those are some of his most famous works. On the other hand, if your story is set in a military setting or a locker room, or quite frankly many settings in modern America, then realistic dialogue could very well incorporate this word.
I’m also quite offended that a writer feels the need to censor words, as if words are evil and not the actions and intents that surround him. Of course, what is there to expect from somebody on the board of the National Organization for Marriage?
Uncle Orson Reviews Everything
In the link above he reviews The Lincoln Lawyer, The Company Men, and American Idol. The specific section I want to highlight is when he questions the use of the f-word (for the uninitiated, he means “fuck”).
“Raise your had if movie people are the only ones who ever use the word in your presence.” The assumption is that you will of course not raise your hand, as he goes to point out that “most of us, as grownups, don't feel the need to use the word. It's such an adolescent thing.” In fairness to Mr. Card, he was raised under the Church of Jesus Christ of Latter-Day Saints and attended Brigham Young University, so there is reason to believe that, at least in that part of his life, the use of the word was minimal.
I was raised in Bible Belt states and worked in fast food, a chicken plant, and the Air Force. In my over twenty years in the Air Force, I do not believe there has been one working day in which I did not hear this word--from the lowest of airmen to generals to leaders in the intelligence field. I do not have any objection to Card not using the word in his fiction (most of his works that I’ve read of his had settings that would have made use of the word strange and off-putting), but I could also query why the use of a word is taboo to him but (in his writing) murder is not.
In chastising anybody who uses the word in fiction Card writes, “it isn't only screenwriters and talentless comedians who need to outgrow the F-word habit. When writers tell me, ‘But that's how my character would really talk,’ I always answer, ‘And do you also have to show us how they really wipe their bums after they poop? No? You're able to leave out that extremely realistic trait of your characters? Then why not keep their poopy language out of our heads, too?’"
I actually admire this question, not because of its content, but because if any writer is unable to answer it, then we know that is not a writer worth reading. How many stories have you read in which pooping is vital (maybe it says something about me, but I can actually name some)? Now, how many stories have you read in which talking is vital? Yes, it’s a nice question if not paid proper attention, but it falls apart rather easily. If you write about young boys or Native Americans or a married couple (Ender’s Game, Alvin the Maker, Lost Boys), then it’s quite easy to not use the word. Of course, Card has written more than this, but those are some of his most famous works. On the other hand, if your story is set in a military setting or a locker room, or quite frankly many settings in modern America, then realistic dialogue could very well incorporate this word.
I’m also quite offended that a writer feels the need to censor words, as if words are evil and not the actions and intents that surround him. Of course, what is there to expect from somebody on the board of the National Organization for Marriage?
