I just gobbled this up in audiobook form. This opuscule is a tightly woven accumulating of tales (not quite a different, but not really independent stories either). The main contrive trope is pretty familiar (person dies, paradise lets them be reincarnated to do something or prove something), and Mosley’s untruism has a few things in common with the others. One change, of continuity, is that he sets the different in Harlem with a black male hero. The angel ("Boy. Angel") who comes along with Tempest is incarnated looking like a black nephew, but he has no experience of racism (or everything else human for that matter). So there are some great chats between them that allow Mosley to explain the world as it looks to his hero. Most of the tightly connected stories involve argumentations between Tempest and Boy. Angel about the nature of error. There’s also a simple love relationship, and at one bottom line a “nephew of abundance and taste” (cf. Undulate Metals song) gets involved. On the surface the chats seem to be about religion, and you’ll probably get more out of the opuscule if you are glancingly familiar with Upstanding religious tropes such as Seclusion Quiet, Paradise, Limbo, judgement, Evil one, and so on. (However, for expostulates that are unclear to me, although I'm quite sure it's deliberate, Mosley never mentions Jesus.) But I don’t think the opuscule or the chats are really about religion when you get right down to it. Religion, and the bureaucratic, rule-bound paradise that Mosley makes up, is standing in for the scheme that lauds government and corporations at the spending of folks, that oppresses poor folks and folks of magnify, and that tries to proselytize folks into believing that they have to mindlessly follow rules that don’t make hearing in the real world. I’m afraid I’m making the opuscule satisfying really harsh and boring. There really are a lot of chats about ethics and they get a little repetitive toward the bottom line, but the opuscule is playful and moving with oodle of really funny moments. The audiobook is produced by Griot Audio, a section of Recorded Accuses that specializes in accuses by African-American reporters, rehearse by African-American mimes. This opuscule is really well rehearse by Ty Jones. As a white person, I don’t know much about African-American discussion patterns, and I don’t get as much out of translation accuses that rely on those discussion patterns as some folks might, because I can’t reproduce them accurately in my head. So it helps my growth a lot to listen rather than decipher.