My third book, His Children are Far from Safety, is written/formatted as a play, script; the reason for this is that, with multiple voices are characters, the matter of who-is-who (or who is speaking) seems to be clearer.
Loosely based on the Book of Job, the book or play, begins with a single character, BO, who loses children among other things through divorce, a series of crisis or calamity. As with Job, BO transitions through the expected series of emotions and feelings, vacillating between depression and self-pity and entitlement, self-righteousness. Whereas Job sought an audience with God, BO seeks a day in court with the modern institutions behind much of the loss, the crisis.
As with Job, BO is confronted by counselors (those who serve as voices of reason against BO's supposed rights of restitution). These characters include: the soul (LOUS), the heart (TRA-EH), the mind (DN-IM), and the spirit (TI-RIPS); but other characters follow, among which, are the institutions that seemingly are in opposition to much of what BO stands for, seeks, and considers sacred.
The plot expands from the personal crisis to the broader issues of this time and place; a time when family is growing increasingly weaker along with marriage and fatherhood--all necessary institutions for a relatively free society.
Understanding the real enemy, they that plot and play to undermine the family and society at large, is key to realizing the madness behind the methods; and yes, BO begins to understand as the evidence mounts and true intentions are exposed.
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