I've been around a long time and I've found that these forms, whether it's the cartoon, or whether it's a play, or all these dying forms refuse to die. Something happens to rejuvenate them and it will certainly happen to the political cartoon. It will come back. But whether it's on the internet, or whether it's in some other form, however that works, whether it looks the way it looks now, or entirely different, I have no idea. And thank God I don't have to worry about it.

When 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?

I don't know how comic artists feed their families, if they do. But it's a fascinating form and so I think that after a long period of nothing happening and work, nothing very impressive, we are into another golden age of comics. Unfortunately, it's not a golden age for the artists themselves economically. I don't know how they get along.

I learned to distrust writers who talked about how they squeezed the blood onto the typewriter. They just don't want you to know how much fun they have - you'll resent it.

There are many people who get beat up, who suffer, who are victimized, and then they sit down to write and they write crap. How many of these graphic novels over the years are from really talented people? Most of them actually, if you look at them, are self-pitying confessionals about "poor me".

Whether these were liberal publications or conservative publications, whether they were mainstream or slightly to the side of the mainstream; out of the mainstream, they all believed that they had the right to tell you how to stylize yourself. And from the New York Times to the much more left-winged nation. And The Voice said, no, whatever you want to. You drew whatever you want to, we'll publish it. Nobody was doing that. Nobody does it today. The Voice is no longer that paper, and editorializing is now in the hands of editors, with few exceptions.

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.