Mo elaborates on his outlook on life and the arts. Mo portrays well-known, unknown and now forgotten artists. There is always the distinction between the self-proclaimed artistic elite and the cultural worker that Mo is. Personalism, petty bourgeoisie and racism put a brake on collective artistic flourishing on the small-scale islands and in Suriname. Mo looks back on the extensive use of marihuana and heroin and the role of indigenous religion, spirituality and nature in his life. Mo shares the meaning of his to many familiar greeting with the reader. How are you doing, con ta bai, Mo? Divine as usual, Divino manera siempre, Goddelijk zoals gewoonlijk. 

Writing Mo’s biography was an adventure. The book is based on approximately fifty hours of interviews in 2017 at Mo’s home in Seroe Bentana, Aruba and countless hours of additional conversations. The interviews took place in Dutch, say ninety percent, and further in Papiamento, Caribbean English, Sranan, Spanish, Portuguese and German. The sound recordings were transcribed, then edited into many hundreds of text fragments. These formed the basis of the final text in which the spoken language – or better: languages – was preserved as much as possible. To the authors, the book is a success if the reader hears Mo and not reads Luc. 

The book has 200 pages of which 24 are color pages with Mo’s artistic work. Mo’s story reads like a jazz biography, a cultural or arts study, and a Caribbean diaspora novel. Divine as usual is a contemporary Nanzi story.