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.:  The Divinity Chapters  :.
Cunto 01
Cunto 02
Cunto 03
Interview 01
Cunto 04
Cunto 05
Cunto 06
Interview 02
Cunto 07
Cunto 08
Cunto 09
Interview 03
Cunto 10
Cunto 11
Cunto 12
Interview 04
Cunto 13
A short 'mindstream' novel about a man's descent to hell and subsequent resurrection. His critical review of the novel, as captured by reporter Marvin Gander, and the 'mindstream'© process is interspersed throughout the chapters and may be included in the final work, in accordance with the author's wishes.

Any unauthorized publishing of this will precipitate excessive violence on the part of the author. Please ask. It's all ©2004.

DIVINITY

INTERVIEW 01

[Ed. Note - All interviews are direct transcripts from Marvin Gander's sessions with author Mingus Tourette. They are planned so as to take place every three chapters of Divinity.]

Bugaloo Gables Coffee Shop
July 18, 2001
9.00 pm
divinity interview 01

Gander - So, you’re finally started.

Tourette - A whole three cuntos.

G - Good enough. Shall we?

T - Sure as fuck. Lead on, McDuff.

G - Alright. So, Mingus Tourette, you’ve finally started down the Divinity path. How does it feel to be writing the first ever Mindstream© novel?

T - Fucking great.

G - Oh, come on. Expand.

T - We’ll see. It’s not the first time I’ve started a novel, you know. I think I’ve got six or seven first chapters of different almostnovels lying around the house.

G - But this one is different, isn’t it?

T - Sure. Well, for one thing, I’m under contract. I have to write it. If I don’t, I’ll be looking for a new job, and I don’t think anyone’s going to give me a writer in residence position if I got fired from this one. Not to fucking dis us, but if you get canned from here, how much further can you fall?

G - I see, but aside from contractual obligations....

T - Besides that, I think it’ll flow. It’s got good flow, so far. See, the thing is, the whole plots laid out. That’s always been my biggest obstacle, is getting past the initial planning stages. I hate that part. Every novel that I’ve tried to write that hasn’t gotten off the ground has remained there because I couldn’t get a fucking grip on the plot. Plots can be fucking brutal work. Characters, great fucking characters, I got fistfulls, but fleshing out a plot can be awful work. You have to have some serious time off.

G - Or a writing post.

T - Or a writing post. That’s why this one’s going to get done. Contract, and, I got the plot. That, and being mindstream, I’m just required to go off once a day, essentially, and it’ll be done. Lots of reading, lots of planning, practice, and then boom, go off.

G - Now, to a reader who hasn’t read any of your seminal essays on Mindstream©, what you just said is going to be a bit confusing.

T - So tell them to fucking read one of them. I’m not going to fucking narrate the papers for you. If you want to include them, go ahead, but I’m not going to go into depth on them. I want to assume a base knowledge.

G - Alright, we’ll do that later. (ed. note - essays will be available soon) We should talk about something relating to the book, though. Style’s never a bad place to start, especially when you’ve got something a little different. Can you explain the style you’re going after with divinity?

T - Style? What the fuck’s that? It’s mindstream, if that’s what you’re asking. That’s the style.

G - Ok, but can you maybe explain some of your stylistic choices for us. Even in the first three cuntos, if you could.
(beat)
Actually, you could try to explain the use of ‘cuntos’. Can you explain that?

T - Cuntos. Well, if you’ve ever read Dante or any of a number of other long poems, you’ll recognize the word cantos. It’s just a division within a long poem; like a chapter. It’s still used presently. Eliot, Nabokov. Lots of poets. There you have it.

G - Yes, but these are cuntos, not cantos. In the first line your novel reads ‘Cunto I’.

T - (long exhale)
I don’t want to say that I did it just to throw shit in people’s face, like literary critics and other analyzers, cause I didn’t. I mean, that was definitely one part of it. I’ve always wanted to write something with the word ‘Fuck’ in the title, and have it be so good that it would be published despite being called ‘Fuckball Abroad’, or whatever, so that’s some of it. I mean, the novel’s called ‘Divinity’, but the first thing a reader hits, is the word Cunto. People are going to read it, too, because it’s a unique novel, something people'll be talking about, and I’ll have that little piece of satisfaction. It’ll be a little shit in pretentious faces, and I’ll be standing there with the shovel. And, if someone asks, I’m not going to fuck around and say it’s latin for something, cause it’s not. It’s a straight play on Canto, using that real fucking offensive word.
(pauses for enunciation)
Cunt.
(beat)
So that’s one part of Cunto. The other reason for Cunto, is that the original, Canto, is a break in the poem. It’s thematic. It’s about rhythm. And what’s more about rhythm, about theme, than a cunt, really. I mean, we can dress it up any way we want; love wound, venus guy trap, pussy, sex, in the Anais Nin sense, whatever you want to call it, it’s still the same thing, that original vessel of poetry, that beautiful cunt. Say it, cunt, and then think about it. It’s the original vessel of human life. I love the word cunt. It’s so sacriligious today, and I don’t understand why. It’s more taboo than ‘fuck’. How can something so fucking sacred be considered such a dirty word? To me, the word’s religious. That’s part of the hymn.
(beat)
Cunt.
(beat)
So cunto is the rhythm of fucking, it’s the break in theme, it’s the division in a poem; cause it all changes within the fuck, it changes with different women, it changes all the time, when you’re just about to come compared to when you first slide it in, it’s about rhythm and breaks and different passages of time. Cunt governs everything, really. We all base our whole lives on it. Quest for it, fight for it, lie for it, break heads for it. So why not have it govern a whole poem? A whole novel? Cunt is life, and of course, life rules poetry. What else would a poem be about, except life? Except cunt?

That’s why I’m using cunto. The more I thought about it, the more I realized I couldn’t use anything else. You know what I mean?

G - Umm, certainly. But you do understand that some people will be offended by it.

T - Wait till they get to Cunto V. Then they’ll really get pissed off.

G - Why’s that?

T - You’ll see. The poem’s shifting. It kind of came to me, the theme within the theme, the other day. I’ll get into it the next time, when we do four to six. I’ll just say that the first three are very classic. They’re haunting, in the same way the original Divine Comedy was haunting. Lost in the woods, entering hell... but there wasn’t the full reaction to what I’m trying to say with it. There was an undercurrent, but it was almost too subtle. A bit stronger in IV.

G - Pardon me?

T - Ah, you’ll see. I think it’ll work out better, because the first three, even the first four, are so classic. I’m not going to change the narrative flow, but there’s going to be more reaction, do you know what I mean?

G - Perhaps. You mean Dante as the traveller?

T - Something like that. Dante walked with Virgil, but there wasn’t much reaction, interaction with the landscape. Nothing changed as he went through hell or purgatory or heaven, nothing but discussions. He was a tourist. The most famous tourist ever, but still a tourist. Lots of gnashing of teeth, and political subterfuge but no reaction.

G - So we’re going to have a reaction?

T - I think so. In V, Mingus sees something, and so does Kob, and they get pissed about it. It was just an instant thing that hit me, that I was mad. I mean I was pissed all day, more about Theresa than anything, but it set something off. Triggered it. Should be interesting.

G - Still fighting, eh? By the way, it’s nice when you can refer to yourself in the third person. Help you with your ego?

T - Fuck you. Sure as fuck is nice to refer to yourself. Cool kind of playing with first third person all the time. Like a DJ, mixing records. Hey, fucking Dante did it, I can do it.
(beat)
And yeah, we’re still going at it. Always going at it. Not even a night off, ever, it seems. Over the same old
bullshit. And it’s only been two years.

G - Hmm, Celina’s been acting up as well. Could be the ‘cuntos’, I suppose. You know, pathos? Cuntos?

T - Brutal. Don’t let them fucking talk, K? Just makes it worse.

G - Hope not. In any case, I guess we’ll see what V brings, hmm? Soon I hope?

T - Soon enough, soon enough.




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