In between "process-" and "product-based" fiction.
According to Nathan Hamilton, there are two general modes in UK & US [fiction] ... one is a product-focused aesthetic, the other is a process-based approach. The product-focused aesthetic relies on clarity of context, presenting self-contained, more or less complete thoughts and evincing a concern for descriptive accuracy when considering the external world. It is, to caricature slightly, occupied with realizing recalled events, sometimes through memory's distorting effects, while keeping failings of language under discursive control. This is often also called 'mainstream.’ Its weakness is that it can rely too heavily on rhetorical commonplaces, or conceits, and can easily feel naively decorative to the more philosophically concerned, or sentimental or even redundant in its efforts to describe the outside world convincingly. The process-led approach ... is concerned with [fiction] as a way of speaking about the world that simultaneously presents the difficulties of doing so. To the young contemporary ear, being too 'product' in approach can end up sounding pompous or over-wrought; old hat. Too experimental or 'process' focused can seem solipsistic and, again, but differently, over-wrought ... So, we have a popularizing neo-surrealist ironic school in evidence, growing out of a collision between the 'product' and 'process' approaches outlined; a [fiction] of the absurd, ironizing, meaning-making, which in fact one can find moving and meaningful, allegorically.