much of which involved paranoid rants about imagined conspiracies. The pair began to write a novel with the premise that "all these nuts are right, and every single conspiracy they complain about really exists". In a 1980 interview given to the science fiction magazine Starship, Wilson suggested the novel was also an attempt to build a myth around Discordianism: There was no specific division of labor in the collaborative writing process, although Shea's writing tended towards melodrama, while Wilson's parts tended towards satire. Wilson states in a 1976 interview conducted by Neal Wilgus: According to Ken Campbell, who created a stage adaptation of Illuminatus! with Chris Langham, the writing process was treated as a game of one-upmanship between the two co-authors, and was an enjoyable experience for both: The unusual end product did not appeal to publishers, and it took several years before anybody agreed to take it on. According to Wilson, the division of Illuminatus! into three parts was a commercial decision of the publisher, not the authors, who had conceived it as a single continuous volume. Shea and Wilson were required to cut 500 pages to reduce printing costs on what was seen as a risky venture, although Wilson states that most of the ideas contained therein made it into his later works. The idea that the top secrets of the Illuminati were cut from the books because the printer decided to trim the number of pages is a joke typical of the trilogy. Dell Publishing first released these individual editions (with covers illustrated by Carlos Victor Ochagavia) in the United States in 1975, to favorable reviews and some commercial success. It became a cult favorite but did not cross over into large mainstream sales. In Britain, Sphere Books released the individual editions (with different cover art by Tony Roberts) in 1976. The individual editions sold steadily until 1984, when the trilogy was republished in a single omnibus volume for the first time. This collected edition lost the "what has gone before" introduction to The Golden Apple and the "Prologue" to Leviathan. Some of the material in that foreword, such as the self-destruct mynah birds (taught to say "Here, kitty-kitty-kitty!"), appears nowhere else in the trilogy, likely a result of the 500 pages of cuts demanded by Dell. The omnibus edition gave a new lease on life to flagging sales, and became the most commonly available form of