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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.



[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.]

July 08, 2002
11.30 pm
divinity interview 04

Gander - Good evening, M. I hear cunto thirteen's already finished.

Tourette - Yeah, sort of. Fucking close enough.

G - Nicely done, Mr. Tourette. Over a third of the way now.

T - Yeah, and only a year later. Brutal. And we persist in these interviews.
You know what I'm thinking these days, Gander? I think it's a waste of time. A big fucking waste of time.

G - Oh, that's not true, M. You're finally getting somewhere. Soon, you'll be
halfway, and then three quarters, and before long, you'll be finished the first ever online mindstream novel.

T- Who fucking cares, if it's never going to be read? I mean, we've got two whole readers right now. Two. That's fucking it. One writer and one web dude. And they've probably stopped coming back long ago. It's been months since I last threw another Cunto up on the server.

G - So it takes a little longer than we thought. Ulysses took Joyce 13 years to write. These things take time.

T - If this shit is Ulysses, the Pope is the great wandering Jew.

G - Christ was Jewish.

T - So they say, but the point is, what's the fucking point?

G - Is that really bothering you? It's nothing new to be unread, you know. We all go through it.
Nothing else bugging you?

T - Ah, it's nothing, I'm just pissed at the slow turnover. Too much other work. Can't concentrate on Divinity. Can't concentrate on anything.

G - That's odd. I thought you'd have more time now, with Theresa not around so much.

T - Yeah, and that's great. I mean, I do, but I spend too much of it online, you know? I find myself out hunting for cabbala symbols on unmarked IPs, shit like that. I'm trying to play these paranoid marker games out on the web, but nothing's biting me. It's fucking difficult to get a good paranoia rolling, contrary to what Pynchon would have you believe.

G - Why don't you spend that time on the book?

T - I don't know, some kind of sexual thing. I need to get fucked.

G - Really.

T - Really. It's been over a week and it's starting to fucking eat at me.

G - It's been more than a week for me, and I'm not complaining. Much.

T - You're married. It's expected.

G - I'm not married. And it's not expected.

T - You have no ring, but you are definitely caught in the stasis of matrimony, my friend.

G - I don't think so, but in any fucking case, we're supposed to be talking about your novel. Let's not mind the wives.

T - I can't even remember what the fuck happened since we last talked. Cunto X - XII. The groundskeeper is X. Nice zen works in that. XI was the final tour through Dis. Like the discussion. XII was the minotaur. And the centaurs. Some good fucking action. Good catharthis. Sometimes....

G - Sometimes what?

T - I don't know, sometimes you just feel like letting it all go. And so often, whatever you're writing doesn't allow for that kind of release. You get angry, with work, or with women, and there's nowhere to put it, like if you're trying to write comedy. I just got lucky that time. It required some anger, and I had some, so it got anger.

G - It's 2500 words long.

T - Really.

G - Really.

T - Must have had some anger.

G - About Nat?

T - Sure, about Nat. About the snakes in the nest at work. Doesn't matter, though. It's all going to change.

G - Eh? What are you saying?

T - I'm going to change it, the style of the novel, I think. It's an experimental novel, and mindstream's an experimental style, so I think I'm going to experiment with the way it unfolds.

G - How so?

T - Looser format. More breaks. I think it's too much text in one block for anyone to read. It's harder online to plow through 2500 words like that. I would imagine that it's easier to read these interviews than to go through six cuntos.

G - That's because I am involved in the interviews. That makes it imminently more readable, immediately.

T - Hilarious, but true.
I just think that I want it to be read, you know? People's reading is changing. They want points. I had an editor yell at me the other day. 'Too much text on the page! Not enough pictures! I want bullets!' The guy's a fucking illiterate, but he's got a point. People on the web want point form, not paragraph form. They don't want description.

G - The meat without the bread.

T - Precisely. Literate fucking carnivores. So I think: Aligheri wrote an epic poem. What I have right now is not a classic epic poem, it's also this ongoing, experimental novel, so I can use that, use this opportunity to change, to make the form more readable for the masses out there that might be enlightened by this, but who can't muddle through 2500

G - You've been working too much on Nunt, haven't you?

T - Eh, a bit, why?

G - Because what you're talking about doing sounds a lot like what you're doing in Nunt right now. Broken sentences. Broken poetry. Nunt is a lot like this project, if you think about it. Nunt is a variation on themes, 48 variations, if I'm correct. Divinity has 33, each one is longer, but they're variations on theme. They're both experimental. But anyone can read Nunt, in less than an hour. You're working off your latest material, and I don't know about that.

T - I'm not working off of it. I might be incorporating some of it, and that's alright. If you want to bring Joyce into it, look at how his chapters changed, one after another, as his styles and his influences changed. That's what you get for stretching it over so many years. Each chapter has something different. Written like a screenplay, written without punctuation, but the essence of the story is not changed. Only the style. I want this work to evolve as it goes. Hell, I'd write the last third in binary or something further down the line, if I could.

G - Glass Beads?

T - Fucking exactly. Hieroglyphs. Amino acids. Something like that. It's a new style of writing, and that makes me interested in the project. Gives me a different ruby coloured visor to peer through when I look at it. I'd really like
to add some more code to the last third of the novel. We'll see how it goes. Maybe after thirteen.

G - Do you think it'll speed up?

T - Slow down, is more likely. I haven't seen anything like this before, so it's going to take time to figure it out. I want lots of tags. And I've still got so much Nunt to work on. But you never know. It might. It might. Like falling in love, you know? If you can get that girl to the table, you'll stay there up all night for weeks, till you have your fill.

G - Had your fill lately?
(long break)

T - It comes and goes. Try not to think about it. Cause if I start thinking about it, I'll just go back, and she'll come back, and we'll fuck, and fuck it up, and there you have it. Ground fucking zero again.

G - Who'd you fuck a week ago?

T - Never fucking mind.

G - Who was it? Come on, you can tell me.

T - Right, with the fucking recorder rolling.

G - As you pointed out earlier, there's nobody reading this at this point. We might as well be offline.

T - Who do you think it was? Fucking Nat. Weird, weird though, cause I fucked that older chick a couple of weeks before that. I don't know. It's all getting weird.

G - Hmm, a little double nesting. Do you think she's seeing anybody else?

T - I doubt it.

G - How do you think you'd feel if she were.

T - Not very fucking good. But what can you do? I can't ask her to notfuck some guy, if she wants. I was fucking around.

G - Yeah, but how would it feel? I'm just playing advocate, because you're up to it.

T - What's your fucking problem? You getting screwed around on?

G - Oh no, that's not what I'm

T - Well, I told you, I wouldn't fucking like it, but I'd have nothing to say, except 'that hurts, and I probably fucking deserved it'. What the fuck would you say?

G - I don't know. I really don't.

T - Maybe you should. Because really, the more time I spend with women, and backstabbing assfucker men, both of them, the more I think you can't trust any of them. Listen to me.

G - What.

T - Maybe she is fucking with me, who knows, maybe she's fucking you.

G - She's not fucking me.

T - I'm not saying that, I'm just saying. Humans are just a bunch of fucking animals, wild or not. They're still animals and they'll all turn on you, like that. snap of the fingers. I expect it from her. I expect it you. I expect it from everyone I know.

G - I'm sorry, but where the hell did this come from?

T - I don't know. I'm sorry, that was a bit too much, about you. I trust you as much as I trust anyone. Like I said though, I go too long without fucking, and I get a little owlly. It's been too long now, and the only bitch I could fuck in a moment's notice is Nat. And that's a bad idea. I need a torrid affair. I need

G - Sounds like you should grab a tart off the street.

T - Again?
That was a snide little comment that just fucked me. Oh well, what can you do?
Fucking stay up late and write, I suppose. Not much else to do.

G - Go for a walk. Join a football team.

T - Get fucking serious. I can drink, and I can fuck and i can write. Once in awhile I think I can fight, but besides that I can't do a hell of a lot, and the sooner everyone else stops kidding me about that, the better.

G - Come on.

T - Come on, no. You know it, Gander. Everyone fucking knows it. I don't kid myself about it. It's time I should get fucking serious. Stop pissing this away every night whatever.

G - Well.

T - Right. Fucking write. I got to get to it. I'll talk to you later.

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