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What if, for once, we did not credit Richard Price with having a "wonderful ear for dialogue"? What if we praised his wonderful mind for dialogue instead? An "ear" for dialogue always seems to imply reportorial or stenographic prowess, the writer sitting in a bar or a bus, studiously agog for the modern mot. Henry Green, the author of perhaps the greatest English novel of dialogue, "Loving," a book written almost entirely in the speech of Cockney servants, insisted that his job was to create, "in the mind of the reader, life which is not, and which is non-representational."
And, indeed, one would have to get very drunk or ride on a magic bus to hear the kinds of ...