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.

The ability to be funny is pretty widespread in the population.

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.

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.

People think you get one idea for a cartoon every week, and that's not the way it works. You usually get 10 or 15, and you're - certainly when I was a cartoonist, before I was a cartoon editor, you're rushing to do what is called the batch. When I was doing that, I liked to have, in general, about 10 cartoons.

I know everybody wants humor to be subversive and speak truth to power. I don't think power's been listening, incidentally.

I've learned not to look a gift horse in the mouth. Why you would want to look any horse the mouth considering how infrequently they brush is beyond me.