My personal beliefs were shaped more by experience and by watching the news when I was young: images of angelic-looking college students in Mississippi crying like the world was ending because black people were being allowed on their campus; the slow mounting horror of Vietnam on the evening news every night; sitting with my parents in front of the TV and being appalled at the way the Chicago police were treating the protesters during the '68 Democratic convention. Being eyed with suspicion because of my age and the way I wore my hair.

Understand, my own politics aren't necessarily interchangeable with what any of my characters believe. You could take each of the characters in On the Ropes, and I'd probably be in sympathy with a different one on any given day, depending on what's going on in the world.

I'm not sure I can name a kind of story that wouldn't work in comics form. It's words and images, and we've been telling all kinds of stories with that combination since theatre was invented thousands of years ago.

I've been asked if I'd consider doing Ropes as a straight novel - which is flattering, I suppose - but I can't imagine why I'd want to limit myself that way. There's a certain immediacy we gain from that specific image of Fred being struck by a revelation, of those union workers appearing from the shadows in an alley, of a lonely woman wondering for just a moment if she should make a pass at this young man in her hotel room

If you think of- of the rhetoric of - of modern Democrats, it's often so focused on government that people don't accept - I think a lot of those - a lot of folks on the left don't appreciate that - that people don't want a handout. They don't want government support and they don't, from the right, want people to talk about the noble entrepreneur.

I can't blame anyone for being pessimistic when they look around, after all the blood spilled and energy spent to gain ground for working people in the past, and see it all happening again. I wasn't pointing a finger when I wrote the book, but sometimes the message is there even when you aren't actively trying to be the messenger.

I did a lot of work with early 20th century attitudes, the kind of superficial notions and behavior that prompt people who don't know history very well to think that "people were different back then" - but beneath all that are characters who react in ways that we can all recognize, and will always be able to recognize.