One thing about Guantánamo, beyond anything else, is the commitment against all odds to allow Americans to view themselves as the good guy, no matter what the situation is.

I had difficulty being friends with women who hadn't worked in either the sex or beauty industries. I felt like other women sometimes overvalued beauty and sexuality, when in actuality, they're just parts of a job.

I came in as an established artist. People were hiring me for what I did and for who I was. I think that has given me a vast amount of leeway; I feel so lucky that I came in that way.

When you hold a graphic novel in your hands, you're holding artist blood made ink.

Art is for the elite because it has a very high price-point of entry. And when one is in that social strata, they look down at illustrators because they just draw things directly for a few hundred dollars and that's seen as being a bit grubby. Galleries allow artists to stay relatively divorced from the financial aspects of their trade. I am lucky because I do fine art, and that is half of my living. And then illustration provides the other half.

Maybe you shouldn't be working as a jailer in Guantánamo. Maybe that's why you feel spiritually unhealthy.

The thing that I hate is that Nicholas Kristof style of writing where it's like, "I saw the poor, they made me so sad. What can I do about sadness? I am so brave." It's just like, shut up, man, shut up.