But there was a period of friction, when “hello” was spreading beyond its summoning origins to become a general-purpose greeting, and not everyone was a fan. I was reminded of this when watching a scene in the BBC television series Call the Midwife, set in the late 1950s and early 1960s, where a younger midwife greets an older one with a cheerful “Hello!” “When I was in training,” sniffs the older character, “we were always taught to say ‘good morning,’ ‘good afternoon,’ or ‘good evening.’ ‘Hello’ would not have been permitted.” To the younger character, “hello” has firmly crossed the line into a phatic greeting. But to the older character, or perhaps more accurately to her instructors as a young nurse, “hello” still retains an impertinent whiff of summoning. Etiquette books as late as the 1940s were still advising against “hello,” but in the mouth of a character from the 1960s, being anti-hello is intended to make her look like a fussbudget, especially playing for an audience of the future who’s forgotten that anyone ever objected to “hello.”
Because Internet, Gretchen McCulloch
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Introduction
Hello! I'd like to start off immediately by saying that I do not mean any harm to people in the writing prompts community on Tumblr, I love writing prompt accounts! Writing prompt accounts give me cool ass ideas, but sometimes as I scroll through I realize most of them I would never use. So I'm mainly going to reblog some cool ones I see and I hope it's useful for you!
And if you like a prompt I reblog, you have to follow the blog that made the prompt, that's the rules, sorry!
If you ever come up with a super awesome prompt but don't wanna make a whole side blog, shoot me an ask if you want! I will only post it if I would use it though so uhh
I might post my own prompt once in a blue moon if I ever get an idea but the quality of it may not be as crisp as the ones I reblog
Also here is a key for tags I will use:
#prompt reblog - this is obviously a prompt that is not mine and that I reblogged! Will mostly be using this
#my personal prompt - my own prompt, will probably never use this
#situation prompt - the type of prompt that describes an idea for a general plot or story beat
#quotation prompt - the type of prompt that has a character saying something or an opening line, leaving much to the imagination
#question prompt - creative exercise where you answer questions about your character(s)/world(s)
#character prompt - the first stepping stone to start creating (a) character(s)
#romance prompt - things are getting spicy!!!
#mysterorror prompt - a mystery and/or horror prompt, really just a dark one I like
#non prompt - I might reblog or post something that isn't a prompt but rather just something related to writing in general!
Any other tag is just a general tag for reach and not organization, also I'm tagging all of these in this post just for shits and giggles
My pronouns are he/him by the way oops
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The linguist J. K. Chambers did a survey of Canadian twelve-year-olds in the 1970s, and found that two-thirds of them said “zee”—but when he went back and surveyed the same population in the 1990s, he found that the vast majority were now using “zed” as adults. The same shift happened with successive generations. Chambers figured that children learn “zee” from the alphabet song and American children’s television programs like Sesame Street, but when they get older, they learn that “zed” is associated with Canadian identity and switch. Indeed, noted Chambers, “zed” is one of the first things that American immigrants to Canada change about their speech, “because calling it ‘zee’ unfailingly draws comments from the people they are talking to.”
Because Internet, Gretchen McCulloch
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Jason McBride, from Eat Your Mind: The Radical Life and Work of Kathy Acker (Simon & Schuster, 2022)
It also helped that most of her students were big fans of hers when they arrived, and even bigger fans by the time they left. Her classes, usually three hours long and between fifteen and twenty students, were always oversubscribed. After her first year there, students were required to submit three writing samples to be considered for admission. She understandably gravitated toward students whose writing felt fresh and unusual, who had an interest in postmodernism or experimentation, as well as those who’d had tough lives, who seemed damaged. “Half of them come out of serious child abuse, sexual and other,” she told a friend. She doted on the students with tattooed skulls, the trans men, the ones who’d worked in porn. But you didn’t even have to be enrolled at SFAI necessarily; if she found you compelling enough, you could be a high-school dropout and still take her classes. Over the years, several of her students would go on to successful writing and art careers: Lynn Breedlove, Anna Joy Springer, Alicia McCarthy, Geoffrey Farmer, Xylor Jane, Erin Courtney.
The class was, for all intents and purposes, a writing workshop, but with an unmistakable Ackerian flavor. “Only one thing’s forbidden here,” she would announce at the start of the term. “You’re not allowed to bore me. Never bore me. Just be honest. Dishonesty is boring. Honesty is always interesting.” The first writing exercise she’d give students was to write a sex scene involving them and a family member. Then she’d have them pass their assignment to the person sitting next to them, who would then read it out loud. “Write from your father’s point of view,” went another assignment, “but in the voice of a schizophrenic.” She would tell her students to try, as she did, to write while masturbating. “I was like, ‘Wha...?’,” remembered Lynn Breedlove. “I can barely do one at a time.” This was something that Acker famously did, for a brief while keeping what she called the Masturbation Journals. “I start,” she writes in one example. “Do I want porn? If I’ve got porn can I write this journal? (Do this do that: get all those thots [sic] out of mind, back to dreams where all the animals live) ... I will float forever ...”
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At the beginning of class, she also told her students that she wasn’t there to solve their problems; she was going to be neither mother nor shrink. That disclaimer, students soon found, was a bit of misdirection—she could, in fact, be extremely nurturing. When one student, for example, arrived to class on her motorcycle, her bare hands freezing, Acker promptly gave the woman an old pair of hers. She could be especially supportive when it came to students’ writing. She told many of them to never give up on their writing. “She almost violently grabbed me by my braids,” said Anna Joy Springer, “and said, ‘You’re so good, Anna Joy, don’t you dare stop writing. I think you’re the reincarnation of Jean Genet.’ I had no idea who that even was.”
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Springer was dating Lynn Breedlove, the founding member of Tribe8, a queercore band that often spoofed the antics of straight hair bands like Bon Jovi. Breedlove wasn’t technically a student at SFAI, but Springer brought him to the Edinburgh Castle and he was immediately intrigued. “There was this little, short, butch-femme, leather-clad, Harley-riding New Yorker babe,” Breedlove remembered, “talking about this French porno philosophy shit. And I was like, ‘Whoa.’ She had my attention.” Breedlove had a degree in English from Cal State and liked to condense literary and philosophical ideas into three-chord rock songs, bestowing this knowledge, he said, on kids who couldn’t afford college. Acker, he felt, was engaged in a similar project, making ideas and information accessible in her own way too. In Acker’s class, he wrote about years lost to drugs and alcohol and about his past life as a bike messenger. That writing would eventually become Godspeed, Breedlove’s first novel. “She made herself so accessible to all of us,” he said. “And validated us. She said, ‘Okay, you guys are young, you’re queer, you’re fucking way out on the edges of society, and the world needs to hear about your lives’.” Acker hired Tribe8 to make music for her spoken-word album Redoing Childhood, taking producer Hal Willner to a concert the night before the recording session, where the band proceeded to cut up several large green and blue dildos on stage. Acker called Tribe8 the “hottest band in San Francisco” and Breedlove “one of the dreams I had had when I was a girl.”
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“She was learning a lot,” Springer said. “How to have sexual intimacy with women, about diverse gender roles, about power plays that didn’t have exact representational parallels in real life. I think she was learning about queerness, feminist queerness.” That said, and as much as Acker loved the idea of queerness, as much as she thought of herself as queer, sex with women was still only rarely appealing to her.
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Springer saw this too, though in somewhat different terms. Acker was in her forties, had never had kids, and was watching a generation of young queer women come of age, third-wave feminists who could have been her children, who she had, in a way, given permission to be. “She never thought that what was happening in feminist, dyke, punk, S and M, anti-moralistic culture could happen with women,” Springer said. “She was, like, ‘Oh my god, you kids are doing amazing things. The future might be possible’.”
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