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Doonesbury had the requisite and overwhelming influence in 1980, as it did on any college cartoonist who was paying attention, of course.

Editorial pages all say, 'Well, the other guy has a point, too. It remains to be seen how this will come out. We certainly hope it comes out fine; blah, blah.' Cartoonists don't go that way. Our job is to stick out our tongues, to show a big raspberry to whatever pompous jerk happens to be mouthing off.

Under no circumstances should doodling be eradicated from a classroom or a boardroom or even the war room. On the contrary, doodling should be leveraged in precisely those situations where information density is very high and the need for processing that information is very high.

Garry Trudeau put me in the Doonesbury strip many years ago. So I've been a cartoon once.

If it were not for the fact that editors have become so timorous in these politically correct times, I would probably have a greater readership than I have.

I hate the actor and audience business. An author should be in among the crowd, kicking their shins or cheering them on to some mischief or merriment.

There is always a reverence issue, and I'm no different from any audience member that if someone's adapting a book or comic that I like, I really don't want them to screw it up.

Maybe 'Doonby' will haunt people for awhile and make them wonder, 'What was that really about?' And that excites me as an artist.

It would not be fair to the critics of Rotary, who include some of the most brilliant of the British and American writers, to charge them with prejudice.

Despite my involvement in difficult and sometimes controversial questions I have received consistent support from the people of Ashfield. They have recognised that it is necessary to take difficult decisions, that newspapers do not always report fairly or accurately.