Consensus reality seemed like a dull, dead-end street compared to the intense, mutable reality of visions or whatever they were - neurological misfires. I expected life to be full of sudden, inexplicable surprises. When these things didn't happen for a while, life seemed dull and painful.

Leslie Stein's comics give readers privileged access to a complete and wholly original world of gently skewed wonders.

Cartoons are perhaps a bigger part of art than is generally realized, and they influence people in ways that are not always recognized. But creating a monumental work of architecture, or writing a great symphony, is something else. It's a higher order of creation.

A tree is an incomprehensibl e mystery.

Alternative cartoonists have to rely on comic book stores to get their stuff in the hands of readers.

I think that cartoons have a lot more power than they're given credit for.

I've heard that Alfred Hitchcock said that by the time he was ready to shoot a film, he didn't even want to do it any more because he'd already had all of the fun of working it out. It's the same thing with these Frank comics.

When I was a kid, I used to see apparitions and have hallucinations, and my entire perception of the world was badly disoriented. And I had kind of a chaotic childhood because of that. I've really hung onto it, though. Because I actually like those feelings.

When I started formulating the first Frank comic, I knew I wanted it to be something that was beyond time and specific place. I felt that having the characters speak would tie it to 20th-century America, because that would be the idiom of the language they would use, the language I use.

The fiction I tend to like is nothing like my own work. I like the kind of writing that shows me things I don't know about, and what I don't know about is the everyday, normal world.

I'm not a freak. I'm not really crazy or anything. I don't think I'm really abnormal. It's just, like anybody else, I have interests I cultivate, and one of my interests is not getting too used to things. I've sacrificed a lot of things in my life in order to keep that sense of things being unfamiliar.

If I had learned how to get along in the quotidian world while keeping up the search for the hidden realm, I might have gotten more out of life. But I believed I was doing hugely important work. I was elitist about it.

That Moorish architecture is all over the place, of course. It affects me everywhere I see it, as it does so many people. But Brand Library was a special place to me, and I know I've paid homage to it many times in my drawings.

People for whom art is religion can say, What I love about art is that it points to a higher reality. Well, fine, but the time comes when the smart thing for such a person to do is to let go of the fun of the art and get into the hard work of attaining and understanding that higher reality, unmixed with worldly games.

I do sort of feel like I'm building my monument with what I do, but it's pretty small and inconsequential compared to real works of genius like this, which are giving vast inspiration to humanity. But I guess I shouldn't even say that. It's ridiculous to say that. You are what you are. My stature suits me.

Doing a story about my mundane, waking life, how much I don't like my job, or breaking up with someone, I don't think so. Those stories don't interest me that much as a general thing.

I've often thought I would like to try to write a conventional novel, but I just don't know enough about the real world to write one.