People forget that many of the aspects of the Selma campaign were laid out in response to the church bombing in Birmingham.

I spent almost two years working on this book ['March'] before we ever had a publisher, before we ever had a title. And when you're reading it, and you're writing it, and you're ingesting it, sometimes a single word just comes up over and over and over again. And if you're trying to capture the essence of what it is you're trying to tell, you don't have a whole lot of space.

For me, it was a mission on the hill to sensitize people, because they don't know Muslim immigrants. And for the most part, a lot of us just keep our heads down. But if I can engage someone in conversation, someone who maybe does support Donald Trump, or at least isn't speaking out against him, and I can show him the fear that I have, then maybe I can turn that tide.

The parts of the [Civil Right] Movement we recognize so well now were not born from a single decision, but were a complicated and messy evolution of ideas and spirits, coming together after a long, hard struggle to triumph in moments when the odds seemed the longest.

We chose to frame "March" around the inauguration of Barack Obama because it was such an important moment in the story of the Civil Rights Movement. It wasn't the fulfillment of Dr. [Martin Luther] King's dream, but it was a major down payment.

We don't want to just tell [students] who the people are, we don't want to just tell them what happened - we want to show the process by which it formed itself.

I have been a comic book fan nearly all my life. My fascination began as a refuge after my father left because it was within the stories told in comics that I could find heroes who fought for justice and where outcasts or misfits could find purpose and commonality. But over time I have come to love comics as a medium for its ability to tell stories with tremendous depth and emotion that in some ways go beyond what is possible solely with the written word.