Literary fiction values
prose over plot, I might say.
Not exact matches
When Roger saw Green's second film, «All the Real Girls» (2003), at Sundance, he was struck by the director's «gift for moments of acute observation, for dialogue both naturalistic and uninflected, for mood
over plot, for poetry
over prose.»
This novel has a cast of amusing characters, a
plot with a few surprises and is filled with wonderful
prose like: «A passing car sent its searchlight - glare crazy and liquid
over the sides of the buildings and into the trees, revealing not the colours, the daylight solidity of things, but a world of dark gaps cut from an empty skin of light».
Bright's light, droll tone ably skips
over melodramatic pitfalls (and glosses
over a few
plot elements that strain belief), but when Nick and Adelaide's secrets come out, her sparkling
prose becomes unrelentingly sharp.