Cartoons, often, that you do for the New Yorker don't appear for months afterwards, and the record for that is a cartoon that was bought by James Stevenson in 1987 and didn't appear until 2000.

Primitive, naive drawing can also be good drawing but it's hard to pull off. I don't think most submitters realize that.

I think The New Yorker's cartoons aren't very political because the people who do the cartoons aren't awfully political people, and they aren't paid to be political. I think editorial cartoonists are. That's what they do. They probably have a great natural interest in politics, and then they are paid to do it, so they sort of have to hunt out these ideas. I admire editorial cartoons, but I'm also sort of happy that I don't do them because I'd hate to have to label things and I'd especially hate, more than anything, to label something Dennis Hastert or Mark Foley.

If you have any problems at all, don't hesitate to shut up.

I'm really interested in the link between creativity and humor because humor is a type of creativity, and I do think that humorous people and humorous health helps creativity.

I have a cartoon where the guy is pretty much, he's a regular-sized guy, but he's the size of the island. He's saying no man is an island, but I come pretty damn close.

I think what Jewish culture taught me and what the - and Jewish culture now is everyone's culture - is all these embarrassing things, all these guilt-filled things, all these anxiety filled things are material.