Instead of focusing on the future of our language, I will instead discuss the effect that the present social and demographic situation has on various types of English writers.
	The first type of literature that I will focus on is the traditional English language literatures, primarily British literature. These literatures have an established canon, and a sort of literary confidence. We would expect that they would be the least affected by the changes of globalization. Because of their economic and cultural power, the syntax and lexicon of American and British English is the standard to which new English learners aspire. There are, however, some pressures for even these writers to adapt to a more global English. Because there are so many non-native speakers, there is a huge market for literature that uses a smaller lexicon, in order to be more accessible to English learners.
	There are also other non-market forces affecting literary production in these established cultures. British literature in particular is at an interesting point in its history. Post-colonialism is also post-empire, and Britain has gone from the empire where the sun never sets to a small island where it often feels like the sun never rises. English literature is the last bastion of English Imperialism - Britain may no longer be the economic or military superpower, but it still sees itself as the cultural center of the English-speaking world. The fact that this attitude is accepted is evidenced somewhat in the cultural prestige of the Booker Prize. Perhaps the most prestigious English language literature award, Booker Prize winners must be British or Commonwealth writers. The implied message is that the best literature is still coming out of England, or is at least a product of British society. 
	McEwan's Atonement is one example of the continued British fascination with Empire. McEwan sets his novel at the beginning of World War II, just as the Empire was beginning its decline. Cecilia and Robbie, the heroine and hero, are all that is good about Britain. They are bright and capable and upright. The new post-colonial world, however, no longer has a need for the old England, and it is only in the post-colonial imagination of Briony as Britain that they live on, and that they are important. Other authors, like Kazuo Ishiguru in The Remains of the Day, also focus on this period of history. It does not seem coincidental that so much of contemporary British literature expresses this longing for past glory, albeit through the lens of the post-national postmodernist. 
	The second type of novelist is the post-colonial writer. Although technically America, Canada, and Australia are all post-colonial cultures, for the scope of this paper I will be focusing on countries recently granted independence from Great Britain, primarily North African countries. In these countries there are strong pressures both toward and away from English literary production. In most North African countries there are hundreds of mutually unintelligible languages spoken, and English has become a lingua franca, enabling disparate tribes to communicate. 