Cartoons were very conservative. The country was very conservative. Although the liberals were allegedly in charge for a long time, there was a very acceptable balance what people would talk about in public. And I wanted to stretch those and move further out. And as the civil rights movement began, I started doing cartoons on that and on sit-ins and I was, along with Bill Mauldin, a great cartoonist out of World War II, arguably one of two white cartoonists doing this kind of work, Bill and me.
Jules FeifferAt the time, liberals didn't understand that they had First Amendment rights. So, I was doing cartoons in this narrative cartoon form about subject surrounding that and as I was turned down by editor after editor at each publishing house, I began to notice on their desks this new newspaper called The Village Voice, which I then went and picked up and thought, well my god, these editors that were turning me down all, whom tell me how much they like my stuff, but they don't know how to market it because nobody knows who I am. If I got into this paper, they would know who I am.
Jules FeifferWhen I write a play, my whole intent at bottom is to get the audience to be in the cast, to get that audience on stage with the actors and to get them thoroughly involved in what's going on.
Jules FeifferWhen people started reading me and talking to me about the work, they didn't say how funny, or how satiric, or how brilliant, or how this or how that, they said, how'd you get away with it? How'd you get that into print?
Jules FeifferThere's the excitement of adding color, which I didn't know anything about until 1997 or so, when I did my first picture book. So, the kid's book in particular have been exciting for me because it forced me to go back to the work I loved as a young boy reading Sunday's supplements and comics in the Sunday papers when I was six, seven, eight, nine. And number of which have been in wonderful collections, beautifully reproduced.
Jules Feiffer