I know what I as an editor respond to is a voice. A voice is not just a stylistic thing, but it means someone who really has something to say. I think a lot of what I get from books - whether they be books of comics or books of literature - is a window into somebody's mind and their way of thinking. Somehow, I can recognize some of my feelings in seeing somebody who is actually expressing their own inner reality.

I now feel that I have a moral duty to course correct and say wait a minute, it's not just for adults.

The image by Barry Blitt of Barack Obama and Michelle in the White House with him dressed as a terrorist, her dressed as an Angela Davis character, a flag burning in the chimney, a portrait of Bin Laden on the wall is an image I'm extremely proud of.

Often, we separate intellectual discourse from emotional reaction. But I take such genuine pleasure in things that are intellectually well architected. It's definitely an integrated experience for me. Much more than any kind of cheap, emotional pulls that you get in popular culture, when I read a sentence and it's beautifully written, it can bring me to tears.

It's useful to be born in a different culture because you see things that are not obvious. I come from France. In France, there isn't a pretense of objectivity in publishing. I discovered - and I don't agree with it - that in the US, the New York Times or The New Yorker has to pretend to be objective, and if they present this point of view then they have to also present the other side.

Comics are actually dubbed by euphemistic label of graphic novel, which became a big deal.

There is a visual narrative that is implicitly understandable even when you don't understand the words and in a good comic, and they are hard to find, but good comics have parallel intertwined narratives.