>> rousha justifies its presence in crimea, revealing a letter at the security council from the former president. >> hello, welcome to al jazeera, live from doha. also on the program. we are in venezuela, looking at the financial forces behind protests there. saudi arabia insists all foreign fighters must leave syria and will face justice if they commit crimes. plus... >> 3, 2, 1, go. >> some call it the last great

race. iditerod 2014 gets under way in alaska. >> hello. russia says it has a legal basis. it says former president viktor yanukovych asked for russia's help. international help is mounting. secretary of state john kerry is due to meet ukraine's new leaders on tuesday to show support. the u.s. is suspending military exercises and trade talk with russia and says it may consider sanctions. an international body that keeps an eye on security in europe is conducting a facts-finding mission in ukraine. >> our diplomatic editor james bays has this report from the united nations in new york. >> the third security council meeting about ukraine in four days. this time it was called by the ruban ambassador, and it soon became clear why.

vitaly churkin had a letter from deposed president viktor yanukovych. russia is accused of invading crimea. "no", said vitaly churkin, "we were invited in." it prompted strong condemnation. >> russia has every right to wish that events in ukraine turned out differently. it does not have the right to express the unhappiness by using military force or trying to convince the world community that up is down and black is white. >> the russian representative claims that viktor yanukovych called for russian military intervention. "we are talking about a former leader who abandoned his office, capital and country. the idea that his pronouncements conveys legitimacy is farr fetched and in keeping with the rest of russia's bogus

justification." the russian ambassador spoke to report erts. >> that letter you got there, do you believe it makes russia's move into crimea legal. the the president of ukraine shares our concerns, concerns of a large segment of the ukrainian population and is appealing to russia to use the armed forces to change the situation and prevent the situation from further deteriorating. >> western nations say russia invaded crimea, a breach of international law. russia has produced the alert saying it has a request from the man they say is the limb mate president of ukraine. a global crisis just got more complicated. >> in a moment we be live in moscow with rory challands,

first to crimea, where laurence lee is standing by. what is the latest there? >> well, there has been a development at the airport. there was an apparent - it may not have been true - ultimatum from the russian side that all the ukrainians inside the bases had to give up by three gmt, 5 o'clock local time or face being stormed militarily. what has happened to the military airport is a group of soldiers came out unarmed and said to the russians who are in charge of the airstrip and they wanted power to work alongside the russians looking after the aircraft. potentially to do joint controls at the base. that seems to be an extraordinary set of affairs. it's the opposite of what we thought would happen. it poses a number of

uncomfortable questions now for the russian forces. for a start, if they let this happen at bellbek it would imply that they accept that the ukrainian forces here, that they've been surrounding, are not necessarily on the side of the so-called factionists and terrorists who are running kiev. it would also suggest that if it happened at belbek it could be used as a model for other places - military bases as well, and that, in turn, would allow for a greater resoarings militarily of the ukrainian forces, of their own sovereignty inside crimea. they are difficult questions for the russians to april. the alternative is they say to the ukrainians, who are standing around, not in rank, but waiting, that they have to go back inside the base because the russians are in charge. that would have to happen at the points of a gun, and the russian

commander, we are told said that they'll give the ukrainians an answer by 12 o'clock local time which is in under an hour from now. >> does it suggest there may be a disconnect between the ukrainian forces in crimea, and the leadership in kiev? >> well, it may do, but it may be a very astute political tactic by the ukrainian forces to suggest to the russians that they are not enemies. with so many coming out. they were carrying two flags. one was the ukrainian flag, which said they weren't prepared to do what the russians wanted them to do. the other was a soviet flag from the world war ii, because there they fought together against the nazis. it's an intent saying you

shouldn't regard us as being enemies. potentially it undermines the russian association that everyone on the ukrainian side is a de facto enemy of the pro-russians majority. >> laurence lee reporting to us live from crimea. thanks for that. >> russia's economy is here to take a hit on monday. let's put it in perspective. $60 billion was wiped off the value of the russian companies. they are rich enough to have spent $1 billion on the olympic games. the currency of the rooubel lost 3%. it has more in its war chest. the uncertainty in the market is not all bad news. the price of oil and gas, some of its main exports, is expected to rise. rory challands joins us from moscow. a lot of talk from western nations about the options as far

as economic sanctions against russia, as we laid out there russia is, for the moment, well protected here. >> yes, it is. although its economy has taken a battering in the last day or so. the stock market has slid significantly on monday. and it's - the value of the roouble tumbled. some of those losses have been regained today, on tuesday. russia is in a slightly stronger position than it was on monday. it's not back to where it was last week. we are hearing from the finance ministry that they are announcing that they will stop purchasing foreign currency for russia's foreign currency treasury chest. that, it seems, is another attempt to stablilize the roouble. we have an impression about what russia is going to do to push back against international sanctions. one of the things they could do

is to re-evaluate the decision to release the blockade on u.s. pork, which it has been doing for some time. but that decision was due to be reassessed. it's no longer going to be. it's going to be a bit of a trade war, a tit for tat sanctions tradeoff between the u.s. and russia and other countries around the world at the moment. >> rory challands reporting to us there from moscow. thanks for that: >> now to a lecturer in security and development in london. thank you for being with us. first of all, i want to ask you about russia's - how russia sees this, their justification for these military movements in crimea. they say they have legal cover for this, and cite the letter they have from viktor

yanukovych. the u.n. says that he specifically asked them to do this. they say they are acting to protect the human rights of its citizens in crimea. what is your view on this? do they have a legal justification on this? >> the legal justification at the moment is very shaky. if, really, there had been clear evidence of some kind of atrocities against russian populations in the crimea, and eastern parts of ukraine, that should have been, for example, reported to the united nations security council, maybe a debate on what kind of the measures have taken place, and only if the united nations grounded some kind of authorisation to the russian government to succeed, but only after there's evidence of atrocities and the ukrainians were unable or unwilling to do anything about it. they could make an appeal to the

responsibility to protect. this is really sort of a last - last stage of measures to take. this letter that the russians are bringing up is a bit of an ex post facto. president viktor yanukovych, when he made a speech to the press, he never mentioned his request for russian military troops for support, and he also very much insisted on his support for the territorial integrity of ukraine. no one at the moment will take this seriously. what one could understand on the other hand is the russian desire to make sure there are no kind of infringements, or no kind of atrocities against the russian populations, and one can understand the concerns, especially because if we look at

the composition of the government in kiev, we see right-winning parties, who are strongly nationalist and to a greater extent anti-russian. the concern of the local population is a valid one. the procedures and the way that russia proceeded in terms of going forth is in violation of international law, and in violation of the agreement that russia reached with ukraine, in terms of basing the black sea fleet in the crimea. >> good to speak to you. thank you very much. >> lots more ahead on the program. when we come back syria is popesing a plan to remove all chemical weapons from the country by the end of may. and a brilliant design - a noting school in nigeria and why the local government is thinking of knocking it down.

>> hello. again, the top stories on al jazeera. russia told the u.n. security council he was asked by ukraine's deposed president viktor yanukovych to send troops into the country. they are facing violence and persecution. the european nations were called aggressive and unjustified. russia says it's looking for ways to further isolate moscow.

>> australian troops at a military air base. they have agreed to cooperate. the soldiers walked towards russian troops carrying ukrainian and soviet flags. now, the u.n. chemical weapon body will meet on tuesday to discuss the new proposal on the destruction of the chemical arsenal. they are proposing a 100 day plan removing the chemicals from the country. they still have to be taken and destroyed on a u.s. ship. that process will take 90 days. form former commander of the british military and terror force joins us from london. talk us through what is expected to happen on this first day and the next few days. >> well, as i think everyone is aware, virtually every deadline

has been missed. all the chemicals should be out of syria by february and on the way to destruction. recently there has been movement. only last week the only chemical weapon which is mustard gas was removed from syria, and other chemicals, and some chemicals were destroyed in syria. what is left now is about 30% - 70% of the stockpile and the syrians said it would take 100 days to move the chemicals, and 90 days to destroy them. they'll be destroyed by august, september. we are really looking at the wrong issue, now that all the chemical weapons, and all that is left is toxic chemicals.

now it's time to re-assess the ban. or destroy them in syria, and put all the effort, hundreds of millions of money spent on this, actually to try to help the people of syria getting aid in, rather that chemicals out. >> without wanting to diminish the importance of getting rid of chemical weapons, what is the point. is there not a sense that this is a distraction from the real war. it's been playing out day by day for three years, with hundreds of thousands not killed by chemical weapons but bombs. >> i agree with that. about 1500 have been killed and potentially up 160,000 conventionally. the regime has been keeping the

community at arm's length. if there's proliferation in terrorist groups, that is a concern globally. there's compelling evidence that that has happened. the regime, they had all their chemical weapons attack in an opposition suburb in damascus only on - where four were killed. so we can focus on proliferation, that will have a global impact in the eastern mediterranean. and put all the effort into some kind of peace. put all the effort in to blast the industrial chemicals that are left there and focus on trying to feed us population and come to some peace. >> we'll follow all of this and

see how it plays out. good to get your perspective on this. thanks yevery much. >> arabia is demanding all foreign fighters leave syria. they are concerned they may turp their wepions against the kingdom. a syrian expert at the university of oklahoma says there's evidence that saudi arabia nationals are involved in the syrian war. >> there are supposed to be between 7,000 foreign fighters on the rebels side. there's a debate about whether there is more foreign fighters fighting on the side of the syrian government, including several thousands hezbollah to that and some other shiites who come to fight on the side of the syrian government. as opposed to an international

pot puree coming to be on the side of the rebel, sunni forces. we have seen many videos of saudis engaged in suicide car bombs and so forth, made preliminary videos before blowing themselves up. we know there's a few saudis fighting. there's many that have made a name for themselves in syria. >> al jazeera continues to demand the immediate release of its staff held in egypt. mohamed fadel fahmy, mohammed badr and peter greste have been 66 days in prison. they are accused of having links to a terrorist organization and spreading false news. al jazeera rejects the charges. another arabic al jazeera journalist has been held since august.

abdullah al-shami is on a hunger strike in prison. >> shortages of many items are to blame for the volatility in venezuela. ross shimabuku went to the city of valentia to find out how people are coping with the growing problems. >> the market is bustling. >> produce aarrives from the fertile land. all sides working together in order to live. >> what we are waiting for is an end to the problem. we take food home. the country it not in crisis. there's a few people causing problems. we want to be united together nad of blacking the country. >> chavez had a vision for

venezuela. >> there's an abundance of produce. despite regular roadblocks and security measures, and crime and corruption that has been rampant in venezuelan. many vital items are missing. >> there's no milk, flour or sugar. pay attention to the people who need food. >> this woman is looking for flour, without luck. she'll have to make do with whatever she finds. "i have two kids. i have to give them other things. there's no flour for bread. it will be without sugar." >> what the counter situation means is that shoppers, mostly women spendenedless lost hours

in long queues, from one store to another in search of vital ingredients. with only limited success. >> what is not in doubt is the i bundance in natural resources, with markets like this thriving across the country. life zones on. with the economy, politics and descriptions. there's no report of disruption causing hunger or starvation. the longer it goes on, the more venezuelans are forced to stretch their resourcefulness to put food on the tables. >> in nigeria designers used an architectural approach to keep it above water. they explain why the floating school may not be object stay afloat. >> this is the school nominated for design of the year.

handed out by the design museum in london. it's made of bam boo and timber and put together using only a handdrill. it's the tallest structure. a strouling slum. these children will study at the 13th school. the current school floods during the rainy season. >> this can't happen any more. when the water rises during november, it affects the school. it's a floating school. if the water rise, you have to rise. if it goes down, it goes down. >> the school's design is showing people to build structures withstanding flooding. it was built by local people, using local materials.

>> the lagos government threatened to demolish it, meaning the noting school could be demolished. >> it can't be toed away. it's too far for local students. where they live is a prime water front location, and the government wants to build proper houses here. >> the school's designer thinks the floating school can be integrated into any plans the government might have and it makes environmental sense. >> i believe if you perhaps thing about it in the view of the cl climate change, and the fact that it's increase in flooding and currencies it's intelligent to think about how we can use these communities and think about them as models for cultivating and contemporary

cities in africa. for now the school is the only floating building in the area. winning the design may be the only thing that saves it. >> it's been dubbed the last great race on earth, the annual idit e.r. od dog race began in alaska. participants start outside anchorage and cross a course through treacherous conditions. >> once a year this city goes to the dogs. sled dogs. hundreds of them. they can hardly wait for the sermon yea start of the i'd iter odd. the real start is a day later. this is it meant to be fun, sharing alaska's biggest event with its largest city. they bring the snow in by truck so the sleds can slide and dogs and handlers, known as mushers can hit the trail, or in this case street.

>> one of the biggest names in mushies. >> i race because i have - i was born with a competitive spirit. we can see how i can be like i can be. i'm racing with myself. she's been doing it for four decades, a frequent top 10 finish. >> in return they race hard, and put up with incredible challenges and hardships for her. >> i have dedicated my life for this. it's the ultimate relationship between dog and man. this is the home bringing them and that relationship to the table and repeat what it is that god give them a desire to do. >> the race began 40 years ago as a way to revive dying dog-sled. once the state defended on sleds, famously in 1925 when

ushers and dogs combined to deliver dip nearia vaccine. now it's the toughest competition in the sport and attracts teams from around the world. >> there are teams from norway. dog sledding is big there. it's nice to show people in alaska you can keep up with them. >> keeping the dog healthy is critical. they have a medical and an ecg making sure they can make the run. just looking at the dogs before a race, you can see that the animals love to run. it's what they are born to, what they live for and what makes them happy. teams are making their way through the north american mountains. they'll battle the elements and each other in inhospitable terrain, pushing themselves, dogs and humans, and what is

known as the last great rice, the iditerod. >> and as ever, lots more on the website. aljazeera.com. latest on all the stories we are covering. plenty of analysis and perspective. it's there for you. piegelman. >> i was trying to figure out as an incredibly self centered human, how did i get on this man it when my bairnts supposed to be dead. >> art spiegelman, had a brother he hadn't met. he had a brother that had been poisoned to not be found by the nazis.

>> a pristine and perfect rival i wouldn't be able to live up to. >> controversial covers for the new yorker magazine. >> you know, they should just. >> and some that captured a nation's mood. >> you could see the phantom limb. the ghost of the towers. that had just fallen. >> i spoke to art spiegelman, where couldmix. >> art spiegelman, welcome. glad to have you here. >> thanks for having me. >> you talk about your work. >> fine art. i don't even mo what that means -- know what that means anymore. i think it's a hustle. >> what do you mean? >> what passes for old world art is kind of strange extension of junk bonds and fashion. >> is there a difference between what appears on the cover of a magazine or a book than what

goes up on a wall? >> well, i mean, i would say 95% of the work that's here was meant for publication. which means certain things are forgiven. those thought drawings are often more attractive to me than the final drawing that's meant to be printed. because their occasional ineptitude, their ways of thinking are more manifest. as important as the result. >> in some ways the center piece of this program is "maus." what led you to "maus"? >> i have this cross-over hit, which is "maus." but in order to understand "maus," some of the comments or, in quotes, experiments that came before. in my underground comics in san francisco and new york.

figure out what's under the hood that makes a comics understandable, or ill lus illu more directly or, find a gallery to represent me and i didn't want that. so the answer to that question, you asked about ten minutes back, is just what led me to make "maus" was seeing how difficult it was for people to understand what i was up to in a nonnarrative work. and if i would consider an narrative, how difficult it was for me to draw and make the things i wanted to make and have a narrative worth making, and in 1978, "maus" was it. >> was it the stories your parents would tell? >> my bad passive polish when

they were talking about themselves. >> their parents were holocaust survivors. >> from poled. i would hear some stories that would have no context. these horrifying intense fight mayor images but without anyplace to put them. >> you were listening to conversations that your parents were having. >> yeah or with their friends. they hung out with other survivors, as people who would know what -- you know they would have a common core of experiences to talk from. i would hear bits and snippets but i have never been able to frame a meaningful narrative out of it. my mother spoke of it again in snippets to me again but without me understanding and my father just didn't want to talk about it. it was just like oh, people don't want to hear such stories. not now. when i was an adult and went back to him after a long

estrangement, it was okay, he just didn't want to tell me about it as a kid. after a three page underground story of "maus," before it became the book. i showed him what i was working on and that started a conversation. >> what was important about the narrative, what was important about the message from "maus"? >> it's not about a message. sorry i don't -- messages are efficient, you can put them in an e-mail. what i was trying to think about as an incredibly self centered human is how did i get on this earth when both my parents were supposed to be dead? plunge back into the mis mists of time. not as ubiquity a -- ubiquitous as it was sense. in the genera of the

'70s, '72, '70, the word that had been used was genocide, it was invented for that purpose after the war. so there just wasn't a context to work from. and that's what got me interested, there was no context yet it was the central fact in my family home. >> so as a child you're hearing these stories and you're beginning to get -- you're putting away some things that you grow into being an adult and learning about the holocaust but wanting to know more? good people want to know more. i'm working on these other aspects about what comics can be. it's so much work to do a comic right, even though it's something people think you do on the pack of math tests. that's a toir a story that is worth telling and in some of these rooms is a drawing i did

in the new yorker after "life is beautiful" came out as a movie, men in striped uniform sitting under bashe barbed wire, thanksl the little people who made this possible, the subtext, now there's an oscar award for best holocaust movie, as if it was a genre. >> you say your father didn't want to tell you these stories until you were an adult, when you finally did sit down and talk to him about it, it must have been incredibly hard to hear. >> it was. but in other ways something really strange, which is why i undertook "maus" as a book later. the conversations were in '72. i moved away from new york, came back in '75, talkin talking to m through a towel i put on the phone, i just talked to

him, i finally cop seeded i was in new york, we have to do something together, we found a place where i would be quiet and listen and a place where he had his son attentive, when we were talking about the death camps and what he lived through there. the eery profound way that is not lost on me we found a common ground and quiet way to be together, because around the death camps. >> a comic about the holocaust? >> it sound like an ox 80 more oxymoron to me. it denied -- an oxymoron to me. , it sounded stupid but so is much paint. >> it took you a decade to do this. why? >> short attention span.it was

complicated to do this. i neated a comic that didn't ask to be reread. i nt have the -- i didn't have the graphic novel in my head. it didn't exist. >> you completed it, it won a pulitzer prize. what does a pulitzer prize mean to someone like you? >> i don't worry about you let's have lunch. you have to understand, this is either a death sentence or a license to kill. and it's been both at various times i must say. but what it actually meant was, people wouldn't give me the time of day or take me seriously enough to keep me working. it is a responsibility and i don't -- i've never learned how to bear the responsibility responsibly. parents. what was their life like? >> i don't know how to answer that.

in a way that's the story certified those 300 pages. they weren't well assimilated in america. they had made too many moves prior to that. they didn't understand quite the culture they were in. and when the kinds of displacement that involved losing a son, they lost what would have been my older brother in the war and losing most of their relatives, parents, brothers, sisters, both from large families, doesn't leave you comfortably rooted in the world. both of them were wrecks of a certain kind. both wrecks. >> when did you learn the story of your brother? >> some ways, kids know everything before they know anything you know, there was a photograph of this whatever, three-year-old boy blown up from a small photograph in their bedroom hike a kind of out of -- like kind of an out of focus shrine.

that was always present. i got some sense, they had a sense that didn't 75 into the present o-- survive into the present. my phantom brother. i knew there was this kind of boy who on the one hand was my sibling and on the other hand, some pristine and perfect arrival who wouldn't mouth off and i was, constantly. >> you have been asked what lesson the holocaust teaches us and you said -- >> i don't know -- >> that it's kind of a cheap shot, to answer the question like that diminishes the holocaust. >> isn't anything as sanctimonious as that. innobles. that's not the take away. and it's certainly not the idea that never again, because we've been doing it ever since. these genocidal reductions of the other into the non-human and

thereby, worthy of extermination, is just an ongoing process in many wars that have happened since an are still potentially present. so i don't think there's any use value to the holocaust except things. >> when you were mentioning the diary that your mother gave you i've read that you also have pictures or drawings that were done by survivors. how did that help you in your research for "maus"? >> very important, that was really important. because one thing they didn't have much in auschwitz among everything else was cameras. so there was no way to visually witness what was happening. in fact by the end of the war a lot of it was being destroyed as evidence by the retreating germans. the only visual witness tended to be people drawing usually at great personal risk where sometimes the drawings would survive and they wouldn't or

they would be buried and found later. and those provided a way to visualize the oxymoron of life inside a death camp. >> coming up. i'll talk to art spiegelman in >> no doubt about it, innovation changes our lives. opening doors ... opening possibilities. taking the impossible from lab ... to life. on techknow, our scientists bring you a sneak-peak of the future, and take you behind the scenes at our evolving world. techknow - ideas, invention, life. on al jazeera america

>> welcome back to "talk to al jazeera." i'm john siegenthaler and my guest today is art spiegelman the author of "maus." you have had an incredible career but part of that career is work being for the new yorker. had you ever done a magazine cover before? >> i think i did. new yorker covers are not usually connected to stories statements. in the heyday of the new yorker, in the postwar new yorker especially, the idea was to give respite, a moment of calm on the honking blaring tawdry passing parade. so they would be images of cebt scenes or of the city -- connecticut scenes or the city drawing.

that was the-cartoon drawing. i seemed to her like a likely terrorist so -- but you know, it was -- i was a likely person to bring into that mix. i didn't know what it meant but she had no special i thought reverenrce. i was more likely to read underground newspapers or comic books or other things than the basis. i was enlisted at the end of '92 and my wife francois was brought in later. when francois and i got back from ground zero -- >> you lived near ground zero? >> about ten blocks from ground zero.

we saw the plane going into the building. went running downtown, managed to extricate our daughter and started walking up the west sidesidehe esplanade as the other tower fell. as soon as we were back in any kind of phone contact there is a message for francois saying, get up here we're putting out a special issue. i didn't know what to do but figured out what a cover might be and between francois and me covered that black on back cover. that cover looked black on black, but you could see the phantom limb, the ghost of the towers that had just fallen. the only clue was a pierced cover. >> what were you trying to say on that? was there something you were

trying to say? >> in a moment where most any imagery would be too much, it seemed pulling back towards minimalism was a good idea. my house to my studio which was two blocks further north, i had to keep turning around to make sure the towers were not still there. i don't especially loving my nose but i don't want anybody poking their fist into it, you know, there was that. the only thing that could be said was that feeling of loss, mourning and eerie twilight, not understanding what reality was reconfigured. the thing that would flash only in certain light of being manifest. otherwise, it was a total blackness. that seemed appropriate to the spirit and mood of what was

happening in new york in the week following september 11th. >> one of the other memorable covers for the new yorker was the kiss. >> that was the first one. >> the picture of a black west indian woman with a hasidic man. what that? >> i was looking at eustace tilly. doodling hinge. i wondered what he would look like if he was -- for months and months before, the violence that erupted in crown heights between the hasidic community and the black exunt, kind of a -- munt, community, kind of a race riot, had he should just kiss and make up. how can i express that thought,

it was like finding a thought poking around, like a scientists in the lab, this rathe rather attractively faux naive picture, a possible valentine's picture, dealt with something charge was explosive at that moment, so different than what had come before the magazine's history. >> the female construction worker nursing her child? where did that come from? >> before i met francois. >> your wife. >> doing electrical sheetrocking, plumbing, acting as a play working as an architectural model-builder, cobbling and a salesperson of candy at a counter, this was her -- anything i can do could compete with that, i can put

words together and pictures together a little bit. but maybe it came from that on some primitive level. it just seeing this woman, i don't know what was in the news at that moment but probably something about women wanting to be accepted as firefighters, policemen, part of the zeitgeist, breast feeding seemed like a beautiful image of another kind. >> children and guns -- >> that is my favorite cufer. >> why is cover? good because i thought it caught well that weird balancing act, looks so benign and innocent, charge. >> this was 1993. >> yeah, it was way before columbine and the rest. >> yeah. but there's already some conversations about guns in schools and just guns in general

being so pervasive in the culture and that just seemed like the perfect back-to-school image, people carrying their uzis and automatic weapons. the new yorker has a very good fact checking department, they're very diligent. the question of should we or shouldn't we, i figured some two triggers on the background guns, that was useful. we noticed there was a girl in the back ground, a world war i gatling, what's up with that? she a scholarship kid, she couldn't afford it, it's a private school, her great grandfather's gun was in the attic, that was the best she could do at the time. it was the time they invented the unauthor. >> you are a political

commentator. you like that. >> i can leave it for a month and get obsessively engaged again. >> you left the new yorker, why? >> i needed to go to the building out of the shadow of the towers. >> you say -- is that fair? >> it's not fair. it came from one italian journalist who i've tried to avoid from there. it would be such a dopey protest in the sense that the new yorker was more open than most. politically. so it didn't seem like this would be the most effective place to protest. >> did you get tired, let's just put it this way: did you get tired of doing covers? you had success at it, you wanted to move on? >> maybe. you know but i wish i hadn't left in protest in quotes so i could leave in protest when there was an editorial

, endorsing the notion that we should have a war in iraq, in a magazine that doesn't usually have op-ed type pieces in which a reluctant talk was made by a man i respect, david remn inkck, i didn't want to become the new yorker's art spiegelman which made me restless to a degree. maybe there was something of i've done this i don't want to keep doing it. part of it was at that moment i really needed to make pages about being stuck in september 11th, 2001. >> i want to talk a little bit more about process when we come back. >> okay. >> al jazeera america presents extrodanary documentaries. colin comes from a long line of ferrymen. >> you're a riverman from start to finish...

>> now he leaves home to see what life is like on the waters of bangladesh. >> it's absolutely filthy... >> he learns how difficult working ther can be. >> how do you say..."get out the way"? >> shoro >> can this brittish man find common ground with his local host? >> "must really take it out of mr. loteef"... >> toughest place to be a ferryman on al jazeera america

>> this is the real deal man... my guest today is comic artist art spiegelman. let me ask you about the process. how do you start creating let's say a cover, or some sort of work that you know, do you start with a drawing? >> well, often it's from a concept rather than a drawing. but what i mean by that is, it

related to something i said earlier about how comics seem to me the most serious endeavor that one could be involved in rather than something trivial, comics are a deal with images. that means, they deal with images we have inside our world, in order to explain the world. the baby have a simple smiley face, and rather than a mother's smile. nailing these images are the process of making a comic. the iconic images and usually there's something exists between word and picture, usually something that's bugging me. when i feel good i tend not to make pictures. i don't have that kind of joie de vivre, let me paint the sunset, it's usually an irritant

that i have to work through that leads to my better pieces. >> again, when i look on the wall and i see some of this work, it, comic doesn't seem to me to give it as much respect and tribute as it deserves. >> that's why i started misspelling it to, comic had to be light and funny. the only thing i wanted to do is comics and i'm still not well equipped to do it. >> i would disagree. >> i know what i can do. >> i look forward to seeing more of your work. thank >> every sunday night al jazeera america brings you controversial... >> both parties are owned by the corporations. >> ..entertaining >> it's fun to play with ideas. >> ...thought provoking >> get your damn education. >> ...surprising >> oh, absolutely! >> ...exclusive one-on-one interviews with the most interesting people of our time.

>> you're listening because you want to see what's going to happen. >> i want to know what works what do you know works? >> conversations you won't find anywhere else. >> talk to al jazeera. >> only on al jazeera america. >> oh my! jazeera. ♪ hello there, you are watching the news hour live from our headquarters in do -- doha and i'm lori and they said they did not invade ukraine but invited to step in. standoff with ukraine troops in crimea. a court in egypt banned all hamas activities in the country. a push for independence, we take a look at the hisri