There's a certain pressure you put on yourself to use the comics page to full advantage that can focus your mind to a pinpoint, and when the juices are flowing, that's incredibly exciting. When you've managed to fit a complex set of actions or a complicated emotional passage into a single page there's the sense of satisfaction that I suspect a sculptor gets from chipping away at a piece of stone and ending up with a fully-realized work of art.
I can't blame anyone for being pessimistic when they look around, after all the blood spilled and energy spent to gain ground for working people in the past, and see it all happening again. I wasn't pointing a finger when I wrote the book, but sometimes the message is there even when you aren't actively trying to be the messenger.
If you think of- of the rhetoric of - of modern Democrats, it's often so focused on government that people don't accept - I think a lot of those - a lot of folks on the left don't appreciate that - that people don't want a handout. They don't want government support and they don't, from the right, want people to talk about the noble entrepreneur.
I used to pile on the detail, which was probably a way of hedging my bets while I was working out my own way of doing things. I've cut it back over the years, but some of the descriptions can still be still pretty dense. So the answer is somewhere between fairly detailed and maybe too detailed. Fortunately, people are seeing the final pages and not my raw script.
I'm not sure I can name a kind of story that wouldn't work in comics form. It's words and images, and we've been telling all kinds of stories with that combination since theatre was invented thousands of years ago.
I'd forgotten how challenging comics can be until I started working on Ropes. Yes, you're restricted by the boundaries of the page, but we all work within technical limitations of some kind.
There is a need for more economic growth, for more job growth. But there is a need in some people for them to recognize that they have a role in making these problems better. And we can't - we can't ignore that.
I think that what was genius about the politics of Trump's campaign is that he focused on workers and he focused on jobs. It wasn't about the wealthy entrepreneur with a private jet. It wasn't about a government handout. It was about the folks in the middle.
One of the things I really worry about is that if you don't see middle class wage growth, if you don't see the economy in certain areas of the country, the middle part of the country, starting to come back in the same way that it's doing especially well, let's say, in California or New York, then people are going to become politically frustrated.
When the president talks about tax reform, he talks about the people who will benefit. He talks about American jobs. He talks about the fact that we're going to be taking money that's overseas and bringing it back to the United States so that it will employ American workers. I think that focus again on the American working and middle class is- is-is to me the most thoughtful and, in some ways, the most genius part of Trump's approach to politics.
The issue that's really, really concerning is that you have eight million prime age men who have dropped out of the labor force, folks who aren't even looking for work. You can create job growth all day, but unless you start to do the things that bring those labor force dropouts back into the job market, you're not going to solve the problems.
Well, I think it's just remarkable how wrong the conventional wisdom was. It was utterly shocking that Donald Trump won to people who live on the coasts, but to people who live in the areas that I come from, it was utterly predictable. And that suggests something really, really broken about our political culture.
What a lot of folks feel - and some of the other commenters have mentioned this - is that there isn't a very clear way for somebody who's working-class, who is middle-income to really get ahead in 21st century America. That implicates our education system. It also implicates our local and regional economies. And I think that folks will expect Trump to fix a lot of those things. But, of course, it's a really tall order, and it's not going to happen overnight.
I really do think Trump's election comes down to respect. It comes down to being gracious. It comes down to really showing compassion for the problems of the black and Latino communities. And I really hope that Donald Trump takes the ball that's in his court and tries to go after those voters, tries to show some compassion, and really offers them something substantive to get excited about Republican and conservative policy.
The idea wasn't to make a direct political statement since the current economic collapse hadn't begun when we started on the book. The parallels I'm most interested in are the ways that human nature never changes, no matter how far back in time you look.
I've been asked if I'd consider doing Ropes as a straight novel - which is flattering, I suppose - but I can't imagine why I'd want to limit myself that way. There's a certain immediacy we gain from that specific image of Fred being struck by a revelation, of those union workers appearing from the shadows in an alley, of a lonely woman wondering for just a moment if she should make a pass at this young man in her hotel room
But knowing that the world had come full circle to our Depression story didn't change the way we worked on it, or encourage us to change our thrust. I want people to be able to pick up this book in the future no matter what's going on in the world, and appreciate it on its own merits, not for any perceived winks at the headlines.
Understand, my own politics aren't necessarily interchangeable with what any of my characters believe. You could take each of the characters in On the Ropes, and I'd probably be in sympathy with a different one on any given day, depending on what's going on in the world.
My personal beliefs were shaped more by experience and by watching the news when I was young: images of angelic-looking college students in Mississippi crying like the world was ending because black people were being allowed on their campus; the slow mounting horror of Vietnam on the evening news every night; sitting with my parents in front of the TV and being appalled at the way the Chicago police were treating the protesters during the '68 Democratic convention. Being eyed with suspicion because of my age and the way I wore my hair.
For all the idealism that propels him through the story, if you read between the lines you may see that at a moment which he considers a defining point in his life as an activist, he's also set the stage for potential ugliness down the road.
I did a lot of work with early 20th century attitudes, the kind of superficial notions and behavior that prompt people who don't know history very well to think that "people were different back then" - but beneath all that are characters who react in ways that we can all recognize, and will always be able to recognize.
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