Jules Feiffer

I'd gone around for years peddling my work and I'd take it to editors of publishing houses because in those days I was hoping to publish little books of cartoon satire. And what I generally got from these editors was not frowns of disapproval.

I'd gone around for years peddling my work and I'd take it to editors of publishing houses because in those days I was hoping to publish little books of cartoon satire. And what I generally got from these editors was not frowns of disapproval.

I'd gone around for years peddling my work and I'd take it to editors of publishing houses because in those days I was hoping to publish little books of cartoon satire. And what I generally got from these editors was not frowns of disapproval.

They'd just take the stuff and they'd hold it for a while and they'd laugh like crazy and they'd call me up and be wildly enthusiastic and tell me they couldn't use it and didn't want to publish it. And the reasons all seemed to be

They'd just take the stuff and they'd hold it for a while and they'd laugh like crazy and they'd call me up and be wildly enthusiastic and tell me they couldn't use it and didn't want to publish it. And the reasons all seemed to be

They'd just take the stuff and they'd hold it for a while and they'd laugh like crazy and they'd call me up and be wildly enthusiastic and tell me they couldn't use it and didn't want to publish it. And the reasons all seemed to be

that they had no idea how to market this, that they didn't know who would buy it, that I was an unknown quantity, that my name was not Saul Steinberg or James Thurber or William Steig, all of whom were quite popular at the time. I was quite unknown at the time.

that they had no idea how to market this, that they didn't know who would buy it, that I was an unknown quantity, that my name was not Saul Steinberg or James Thurber or William Steig, all of whom were quite popular at the time. I was quite unknown at the time.

that they had no idea how to market this, that they didn't know who would buy it, that I was an unknown quantity, that my name was not Saul Steinberg or James Thurber or William Steig, all of whom were quite popular at the time. I was quite unknown at the time.

Since nobody would pay me to have it in print, I decided to get it in for free and went down to The Voice, which was happy to take anybody's work for free. And that's how the cartoon began. The Voice at the time had a small circulation, something like 5 or 10,000, but it was an increasingly... knowledgeable and influential circulation.

Since nobody would pay me to have it in print, I decided to get it in for free and went down to The Voice, which was happy to take anybody's work for free. And that's how the cartoon began. The Voice at the time had a small circulation, something like 5 or 10,000, but it was an increasingly... knowledgeable and influential circulation.

Since nobody would pay me to have it in print, I decided to get it in for free and went down to The Voice, which was happy to take anybody's work for free. And that's how the cartoon began. The Voice at the time had a small circulation, something like 5 or 10,000, but it was an increasingly... knowledgeable and influential circulation.

I knew that if I were picked up by voice readers, including those very editors that turned me down because I had no market, once those editors knew that they had five or six friends who were reading me, that becomes the market. Suddenly what was uncommercial becomes possibly commercial, and I'm in business, and that's what I did, and that's exactly how it happened.

I knew that if I were picked up by voice readers, including those very editors that turned me down because I had no market, once those editors knew that they had five or six friends who were reading me, that becomes the market. Suddenly what was uncommercial becomes possibly commercial, and I'm in business, and that's what I did, and that's exactly how it happened.

I knew that if I were picked up by voice readers, including those very editors that turned me down because I had no market, once those editors knew that they had five or six friends who were reading me, that becomes the market. Suddenly what was uncommercial becomes possibly commercial, and I'm in business, and that's what I did, and that's exactly how it happened.

Well, Hefner came along... still when I was making absolutely no money, zilch money, out of the cartoon. And he was the first one to pay me to do the work that I cared about. And at the time, he said he wanted me to do just the sort of cartoons I wanted, the sort of cartoons that were appearing in The Voice in strip form, and didn't want to do anything to alter that.

Well, Hefner came along... still when I was making absolutely no money, zilch money, out of the cartoon. And he was the first one to pay me to do the work that I cared about. And at the time, he said he wanted me to do just the sort of cartoons I wanted, the sort of cartoons that were appearing in The Voice in strip form, and didn't want to do anything to alter that.

Well, Hefner came along... still when I was making absolutely no money, zilch money, out of the cartoon. And he was the first one to pay me to do the work that I cared about. And at the time, he said he wanted me to do just the sort of cartoons I wanted, the sort of cartoons that were appearing in The Voice in strip form, and didn't want to do anything to alter that.

And I did, and I was just as suspicious of Playboy as everybody was then and is to this day. And I found that Hefner was easily the most sensitive cartoon editor I've ever had anything to do with,

And I did, and I was just as suspicious of Playboy as everybody was then and is to this day. And I found that Hefner was easily the most sensitive cartoon editor I've ever had anything to do with,