How it moves
A sentence or paragraph can begin with a body, pivot into a person, widen into an industry or city, jump to a media system or metaphysical claim, then collapse into a joke or direct address. The transitions are associative but not necessarily arbitrary: each scale becomes a different magnification of the same pressure.
Why it feels fast
The reader is asked to perform the missing connective tissue. This produces velocity without requiring action-plot, and lets criticism, fiction, lyric language and documentary detail occupy the same paragraph without formal transitions.
Examples
Richard (A Third), INTERIOR HORRORFILM, I Drank What? and the longer late prose works repeatedly change focal distance in this way. The method is especially visible when a minor bodily or civic detail suddenly becomes an account of money, media or reality itself. Spoilsport/Finish Shit makes the device unusually explicit: one nested parenthesis moves from bodily event to passenger biography, industry, gossip, geography, projected future, narrator and reader without conventional transition.