I immediately realized that the actions they recommended — writing letters to local papers and politicians -– were a useless waste of time. I didn’t know what else to do though, until outside one of these meetings I met a communist who talked to me about revolution. I was astounded and thrilled -– the idea of revolution hadn’t ever occurred to me. I’d thought it was a relic of the long-distant past, and here was someone telling me we could do it too. I jumped right in.
When did you make the decision to combine the two: politics and cartooning?
Stephanie: I went to film school, where I studied animation, because it was very important to my parents that I get a college degree, but already my heart was in political action. I spent my twenties as an activist, and rejected the idea of being an artist. It felt frivolous to draw funny pictures when the revolutionary movement was so small and fragile and needed every ounce of energy we could give it. Instead I took a series of crummy jobs (warehouses, factories, retail shops) to keep me alive so I could do my real work as an organizer. I worked to defend abortion clinics from Operation Rescue, worked against the detention of immigrants, against Star Wars and other cold-war moves by the US, against police brutality, and on a lot of other issues. What I wanted was to help take these struggles out of the realm of loyal opposition, and tie them into a movement that recognized the whole capitalist system as the underlying problem.
After about 15 years of this, the 1999 anti-WTO protests in Seattle revealed that a healthy and vibrant opposition movement had developed, and I felt that it was ethically okay for me to stop being an organizer (other people were doing it far more effectively), and do what I’d always wanted to do, create art as my way of exposing and opposing the system. So I started drawing cartoons.
Initially you started out by doing the single box cartoons, and now you do a recurring strip — how did that progression come about?
Stephanie: At first they were actually multi-panel vertical rectangles, pretty wordy and elaborate. Stylistically I was influenced by the cartoonists I admired: among them Ted Rall, Ruben Bolling, Lynda Barry and Matt Groening. After a few years of that, I switched to single-panel political cartoons because I thought they’d be easier to place in papers. Then after the US attacked Iraq, in spite of millions of people all over the world protesting the moves toward war, I became so depressed that I stopped drawing altogether for about nine months.