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My aim in the present book and my previous work has been to assemble specific evidence regarding the nature of formulaic language and to develop theoretical models that can explain it. Part of that endeavour entails evaluating the applicability of an explanation at the extremes of its range, and that is why this book is about boundaries. As the Introduction explains, it is not to be expected that all linguists agree with my conclusions, nor does it matter. What matters is that we continue to extend our exploration until, by degrees, we establish clearer boundaries between what is and is not formulaic.

The book has been in the planning for several years, during which I have talked to many people, engaged in huge amounts of email correspondence, read a lot of books and papers, and listened to a great many conference presentations. Some forums have been particularly valuable in inspiring new ideas, including the 2005 Phraseology conference in Louvain-la-Neuve, the 2007 Formulaic Language Symposium at Milwaukee, and the Cardiff meetings and international postgraduate conferences of the Formulaic Language Research Network. Even though I try to keep notes of conversations, useful quotes and so on, it is certainly possible that I have appropriated others’ ideas without realizing it. If I have, I apologize, and trust it will be construed as flattery.

There are many people to thank for their various contributions. I have had inspiring and challenging conversations and/or email exchanges about formulaic language with, amongst others, Ben Bergen, Chris Butler, Georgie Columbus, Ding Yenren, Nick Ellis, Britt Erman, Charles and Lily Wong Fillmore, Tess Fitzpatrick, Lise Fontaine, George Grace, Jeff Holman, Martin Kayman, Kon Kuiper, Camilla Lindholm, Iain McGee, Eugène Mollet, Kazuhiko Namba, Christine Pegg, Ann Peters, Qi Yan, John Schumann, Mike Stubbs, Su Yanling, Paul Tench, Sam Tomblin, Gordon Tucker, Diana van Lancker Sidtis, Arie Verhagen, Ulrich Von Hecker, and Beatrice Warren.

Susan Hunston, Mike Stubbs, and Gordon Tucker read and commented on an early draft of Chapter 3, and Chris Butler, Tom Cobb, and Henry Widdowson provided extensive very helpful comments on the entire manuscript. The final version is much the better for the efforts of these contributors, though any or all of them may, I fear, still take exception to some of the things I say. Benedetta Bassetti, Irina Dahlmann, Sioned Davies, Boyd Davis, Seza Dogruoz, Monika Dóla, Nick Ellis, Tony Fairman, Fanny Forsberg, Pauline Foster, Sylvia Grant, James Hegarty, Jeffrey Holman, Ragnhild Knutsson, Kon Kuiper, Ian MacKenzie, Richard Ogden, Rebecca Shaftman, Norbert Schmitt, and Alessandra Tanesini all came up with good ideas, sent me information, or answered questions on aspects of their work. With respect to trumpet and bugle calls, I have had much help from experts David Edwards, Major Richard Powell, Crispian Steele-Perkins, and Major Gordon Turner. Graham Rock kindly helped with the preparation of the musical figures. My limited understanding of motor sport flags was patiently augmented by track marshall and long-term Formula One fan, Peter Butcher.

Parts of the empirical research reported in this book were supported by research funds from the Arts and Humanities Research Board/Council, the Nuffield Foundation, and IELTS.

For permission to reproduce material I am grateful to various colleagues with whom I have co-researched and/or co-written: Janet Cowper, Stephen Cox, Tess Fitzpatrick, Kazuhiko Namba, and John Staczek. Thanks also to Mary Goebel Noguchi, Dawn French, Sue Hunter, Sarah Lloyd, Jon Plowman, and various publishers of material already in the public domain for helping me obtain permission to reproduce it. For support in the development of the idea for the book, and the preparation of the manuscript, my sincere thanks to Natasha Forrest, Julia Sallabank, Cristina Whitecross, Maggie Shade, and Henry Widdowson.

Finally, for putting up with me, even when it meant sitting indoors instead of walking outdoors, and for unstinting encouragement, support, and inspiration, huge thanks to Mike Wallace.

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