As a cartoonist, I am not interested in defending the dominant, the powerful, the well-resourced and the well-armed because such groups are usually not in need of advocacy, moral support or sympathetic understanding; they have already organised sufficient publicity for themselves and prosecute their points of view with great efficiency.

So few humans seem to fully exist themselves that I wonder if all this endless speculation and haggling about God is really an exploration of a more interesting and embarrassing question about ourselves.

At the age of nine, I simultaneously fell in love with two Dutch sisters because they seemed so beautifully strange, and their clothes were mysterious and alluring - added to which, they could not speak a word of English. More than anything, I wanted to connect with them and embark on a vast journey of exploration.

I am probably not alone in sensing above me the huge corporations and monstrous banks, science, politics and technologies, spy satellites and stock markets, military systems and massive wealth - forces and dynamics I don't understand or can hardly imagine.

That's the thing about writing for a lot of the villains is that, as a writer, you kind of have to put the best part of your own personality aside and instead focus on whatever little strange quirks you may have in your personality.

From my years of teaching creative writing, I know that new writers take the setting for granted, as simply a place to set the action, but setting is a vital element in fiction writing and deserves serious treatment.

The only duty an artist has is in the quality of the art. There is no moral obligation to denounce. An artist confronted with a tremendous injustice sometimes feels inclined to say something. Denouncing the situation is the artist's choice.

I feel with ELP that I wasn't making the most of my life and I wasn't making the most of my creativity. I was marking time. I don't want to do that. Life is to short.