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players drawn upon, this type of dramatic exaggerated telling evidenced in LP
and KP's narrative selves relies on the alignments taken up by RP and EP. In
the first instance, this requires RP&EP to receive the narrative proffered by
KPUP, i. e. listen and demonstrate they are listening and not proffer any
counter-narratives - at least not until KP&LP's narrating selves have been de-
mobilised. Secondly, the alignment also requires that uniqueness is largely
maintained throughout the course of the narrative. Thus, as audiential selves,
RP&EP are obliged to treat KP&LP as conveying some 'new` information -
even though as is evidenced by RP's comments at the beginning of the
excerpt, having already been told about Tommy Fields and made an
evaluative judgement, RP has decided that he doesn't want to go there. This
narrator-narratee alignment is evidenced in over the ensuing lines of talk.
Such alignment of audiential selves at these junctures on the talk clearly ratify
both the self proffered by KP&LP and their negative statuses.
As with Cookie's Party however, there are moments of secondary
alignment in this episode which run contra- to the primary negative alignment
being sustained by the participants. In terms of players, positive alignment is
subdued and the only example seems to occur when RP admits also having
some prior experience of the pub, albeit second hand. However, this brief
moment of positive alignment seems not to threaten the negative self
prefaced by LM's mobilisation of what is in effect a pre-narrative self in the
preceding lines of talk. Rather, the admission by RP as to the nature of the
pub ratifies the experiential resource implicit in LM's preface as one worthy of
extended narrative. Positive alignment in terms of selves as images also
occurs. This can be seen at points where RP and EP mobilise similarly
affective, for instance, in RP's exclamation of 'fucking hell' towards the end of
the transcript. This I would argue is an example of temporary and subsidiary
positive alignment. That is, for this moment, RP mobilises an image of self,
which is in effect posited in the same reality in which KP, &LP's experiential
selves were based. Thus, momentarily, positive alignment is achieved as
RP's affective self is mobilised and positively aligned by KP&LP. This action
of course also attest to the power of the replayed reality and thus the narrative
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