What a lot of folks feel - and some of the other commenters have mentioned this - is that there isn't a very clear way for somebody who's working-class, who is middle-income to really get ahead in 21st century America. That implicates our education system. It also implicates our local and regional economies. And I think that folks will expect Trump to fix a lot of those things. But, of course, it's a really tall order, and it's not going to happen overnight.

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.

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.

I'd forgotten how challenging comics can be until I started working on Ropes. Yes, you're restricted by the boundaries of the page, but we all work within technical limitations of some kind.

There's a certain pressure you put on yourself to use the comics page to full advantage that can focus your mind to a pinpoint, and when the juices are flowing, that's incredibly exciting. When you've managed to fit a complex set of actions or a complicated emotional passage into a single page there's the sense of satisfaction that I suspect a sculptor gets from chipping away at a piece of stone and ending up with a fully-realized work of art.

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.