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'Writers, over the last decade, have been waxing lyrical about the rise of the present tense in English fiction. But this morning I read something entirely new – for me, at least. I read a manuscript written almost uniformly in the continuous tense and I found myself getting – the pun is irresistible – tense. Rather than the much-vaunted vivifying effects attributed to present tense narration, this piece of formal trickery hinted at a qualitatively different thing – the potential flattening effect of mono-tense fiction.' (Introduction)