It is easier to argue that something nobody believes in actually exists than it is to argue that something everybody believes in is unreal.

How we treat our invalids - our mad, our physically or mentally compromised family members - does tell you something about who we are politically, historically, culturally.

Babes, I am so bored here that I don't think, since I've come, I've ever been more than three minutes away from some really astonishing act of violence.

It’s a very new, not to mention vulgar, idea that the spectator’s experience should be identical to, or even have anything to do with, the artist’s.

You know what I do? I listen to other people, stumbling about with their half thoughts and half sentences and their clumsy feelings that they can't express, and it hurts me. So I go home and burnish it and polish it and weld it to a rhythmic frame, make the dull colors gleam, mute the garish artificiality to pastels, so it doesn't hurt any more: that's my poem. I know what they want to say, and I say it for them.

I think a 23-page ordinary comic is an investment for the artist, but if you're doing something 60 to 104 pages, that's a really big investment for an artist. So unless you've got someone who wants to pay you while you're doing it or up front, it's kind hard to get someone to do that with you, unless you're the artist yourself.

It is easier to argue that something nobody believes in actually exists than it is to argue that something everybody believes in is unreal.