So the novelist is always working with at least three languages. There is the author's own language, style, perceptual equipment, and so on; there is the character's presumed language, style, perceptual equipment, and so on; and there is what we could call the language of the world—the language that fiction inherits before it gets to turn it into novelistic style, the language of daily speech, of newspapers, of offices, of advertising, of the blogosphere and text messaging. [...]