Then, as the narrative moves from Quest to Chase (as Mitchell himself puts it), the novel intensifies.

On a sparse set, the narrative moves from royal courts to countryside, with plenty of occasions for dancing and comedy.

With the south conquered the narrative moves to the northern campaign.

The narrative moves from 1855 to 1872 in a few crammed paragraphs.

Now you get another panoramic view as the narrative moves from Babbitt's home to other parts of the city.

When the action shifts away from him, the narrative moves into the third person.

But as the narrative moves into the present, and disorders like mad cow disease and chronic wasting disease loom larger, the book wanders a bit.

The narrative moves through the reader's mind like a dolphin, swift and lean, gaining speed as crisis leads to crisis.

In the course of the book the narrative moves from the compelling to the tiresome, from the shrewdly observed to the willfully self-indulgent.

The narrative moves from airplane to airplane, helpfully illustrated by small outline drawings of the model under discussion.