I acknowledge that I have used four-letter words familiarly all my life, and have put them into books with some sense that I was insisting on the proper freedom of the artist. I have applauded the extinction of those d----d emasculations of the Genteel Tradition and the intrusion into serious fiction of honest words with honest meanings and emphasis. I have wished, with D. H. Lawrence, for the courage to say shit before a lady, and have sometimes had my wish.
Words are not obscene: naming things is a legitimate verbal act. And "frank" does not mean "vulgar," any more than "improper" means "dirty." What vulgar does mean is "common"; what improper means is "unsuitable." Under the right circumstances, any word is proper. But when any sort of word, especially a word hitherto taboo and therefore noticeable, is scattered across a page like chocolate chips through a tollhouse cookie, a real impropriety occurs. The sin is not the use of an "obscene" word; it is the use of a loaded word in the wrong place or in the wrong quantity. It is the sin of false emphasis, which is not a moral but a literary lapse, related to sentimentality. It is the sin of advertisers who so plaster a highway with neon signs that you can't find the bar or liquor store you're looking for. Like any excess, it quickly becomes comic …
Some acts, like some words, were never meant to be casual. That is why houses contain bedrooms and bathrooms. Profanity and so-called obscenities are literary resources, verbal ways of rendering strong emotion. They are not meant to occur every ten seconds, any more than—Norman Mailer to the contrary notwithstanding—orgasms are.
"Good-bye to All T--t!" by Wallace Stegner, March 1965