By Armen Avanessian, Anke Hennig

The discovery of the present-tense novel is a literary occasion whose significance is on par with the invention of viewpoint in portray. From the 1st novels formed by means of inside monologues and using the current annoying within the culture of modernism, the current stressful has, over the process its century-long evolution, replaced the stipulations of fictional narration, besides our conceptions of time in a philosophical and linguistic framework. certainly, to appreciate the paintings of a growing number of modern writers J.M. Coetzee, Tom McCarthy, Thomas Pynchon, to call just a couple of it is important to either comprehend the unique linguistic and literary characteristics of the current annoying in addition to its old transformation right into a actual demanding of latest storytelling.For the 1st time in literary scholarship, current demanding: A Poetics deals an account of a profound improvement in twentieth- and 21st-century fiction.

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This narration is content with itself and frees itself from the service of the fabula. It no longer retreats behind the fabula or rejects it completely in a narration without fabula. In this way, it deliberately accepts (or attempts to ensure) that no fiction can arise. No (past) event is presentified, and the reader is not placed into the fictive here and now of a novel’s events (to use Hamburger’s terms). Thus we read in Vasily Rozanov’s Solitaria, which Viktor Shklovsky celebrated as a new novel without a contrived story: Вcякое движение души у меня cопровождаетcя движением выговариванием.

Yet when we go back to the formalist terminology of fabula and sujet, it becomes obvious that such detemporalizing schematization is due only to a style of structuralist theory. It is not prefigured in the narratological categories themselves. 35 Temporal relations between the two levels of narration are generally noticed only when one assumes a retrospectivity of narration, which makes it possible to look back at “past events” and thus to tell the story, to be self-evident. This understanding, however, obscures the proper (or genuine) temporalities both of the fabula and the sujet.

Young boys and girls race around in the sunlight, free and unrestrained. “Let them be unrestrained as they are,” I mused. “Age one day will terrify and bridle them. ”73 Here we have a perfect superimposition of the present of the fabula and the present of the sujet. 74 When an author narrates a text as she is thinking it up, and is thus herself interested in finding out what she will come up with next, fiction acquires a 48 PRESENT TENSE temporal connection with the present of the process of thinking and writing.

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