Hugh Garner has often been praised for his good heart when it is really his good ear and sharp eye that deserve our admiration. It is no use to praise him for his compassion because it is a matter of grace whether a writer has it or not, and a matter of cultural conditioning whether a reader values it or not. But a good ear for dialogue, speech rhythms, and local semantic nuances cannot be brushed aside as easily as mere goodness of heart.
The way a novelist hears words and uses them, has to do with all the complex problems of language, and even of culture. Speech is a form of action, and in the area of dialogue—which is action between characters—Garner stands out among his Canadian contemporaries. (p. 72)
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