Timely Tenses: Considering Present Tense Narration

When the jury of the Man Booker Prize 2010 chose three novels for their short-list that were written in present tense they earned some harsh criticism. To some, like Philipp Pullman, present tense narration seemed to be no more than an annoying fad, “a silly affectation,” which he criticises as a limitation to narrative possibility.1 Nevertheless, present tense narration is spreading fast, not only among Booker Prize nominees and winners. Indeed, it has become so common that it hardly seems to draw much attention anymore. But what is the appeal of present tense narration to contemporary authors? What effect does the choice of present tense narration have on the ways stories are told and read? This paper will address and compare the use of present tense narration in recent British novels by authors such as Hilary Mantel (Wolf Hall, Bring up the Bodies), Ali Smith (Hotel World, The Accidental ), Tom McCarthy (C) and others, looking for similarities and differences in their respective narrative rationale. In view of the heterogeneous and complex use of present tense in contemporary fiction, I would like to suggest, merely pointing to the pace of contemporary life and the simultaneity of new communication media does not suffice to adequately address a phenomenon that has become a characteristic feature of 21st century narration. 1 Laura Roberts. “Philip Pullman and Philip Hensher criticise Booker Prize for including present tense novels.” The Telegraph. 11. Sept. 2010.

Contact, Mobility and Authenticity: Language Ideologies in Koineisation

New Zealand English first emerged at the beginning of the 19th century as a result of the dialect contact of British (51%), Scottish (27.3%) and Irish (22%) migrants (Hay and Gordon 2008:6). This variety has subsequently developed into an autonomous and legitimised national variety and enjoys a distinct socio-political status, recognition and codification. In fact, a number of dictionaries of New Zealand English have been published1 and the variety is routinely used as the official medium on TV, radio and other media. This however, has not always been the case, as for long only British standard norms were deemed suitable for media broadcasting. While there is some work already on lay commentary about New Zealand English (see for example Gordon 1983, 1994; Hundt 1998), there is much more to be done especially concerning more recent periods of the history of this variety and the ideologies underlying its development and legitimisation. Consequently, the current project aims at investigating the metalinguistic discourses during the period of transition from a British norm to a New Zealand norm in the media context, this will be done by focusing on debates about language in light of the advent of radio and television. The main purpose of this investigation is thus to examine the (language) ideologies that have shaped and underlain these discourses (e.g. discussions about the appropriateness of New Zealand English vis à vis external, British models of language) and their related practices in these media (e.g. broadcasting norms). The sociolinguistic and pragmatic effects of these ideologies will also be taken into account. Furthermore, a comparison will be carried out, at a later stage in the project, between New Zealand English and a more problematic and less legitimised variety: Estuary English. Despite plenty of evidence of media and other public discourses on Estuary English, in fact, there has been very little metalinguistic analysis of this evidence, nor examinations of the underlying ideologies in these discourses. The comparison will seek to discover whether similar themes emerge in the ideologies played out in publish discourses about these varieties, themes which serve to legitimise one variety, whilst denying such legitimacy to the other.