The writer I feel the most affinity with - you said you felt my books are 19th century novels, I think they're 18th century novels - is Fielding, Henry Fielding, he's the guy who does it for me.
The Pentagon can't even audit its own books. It doesn't even know where its money is going. And we refuse to have the tough forces go on the Pentagon so that at least they are efficient with the money they're spending.
It's embarrassing to be involved in the same business as the mainstream comic thing. It's still very embarrassing to tell other adults that I draw comic books - their instant, preconceived notions of what that means.
We were fortunate enough to have several good books detailing the camps and the women. Some were by the survivors. I also got to talk to some of the women who had been in the camp, survivors.
The Twist was a guided missile launched from the ghetto into the heart of suburbia. The Twist succeeded, as politics, religion and law could never do, in writing in the heart and soul what the Supreme Court could only write on the books.
I like all things grammatical, and I had already written several books about parts of speech, and even the alphabet, so everything that makes up a sentence and even a word was covered except for punctuation.
You want a story? Read 'Gone With the Wind'. These aren't stories. They're joke books. The whole thing of a beginning, a middle and an end has been done to death.
I feel sometimes that in children's books there are more and more grim problems, but I don't know that I want to burden third- and fourth-graders with them.
Otis was inspired by a boy who sat across the aisle from me in sixth grade. He was a lively person. My best friend appears in assorted books in various disguises.
