input: Before her short stories started appearing in print, Highsmith wrote for comic book publishers from 1942 and 1948, while she lived in New York City and Mexico. Answering an ad for "reporter/rewrite," she landed a job working for comic book publisher Ned Pines in a "bullpen" with four artists and three other writers. Initially scripting two comic-book stories a day for $55-a-week paychecks, Highsmith soon realized she could make more money by freelance writing for comics, a situation which enabled her to find time to work on her own short stories and live for a period in Mexico. The comic book scriptwriter job was the only long-term job Highsmith ever held. From 1942-43, for the Sangor-Pines shop (Better/Cinema/Pines/Standard/Nedor), Highsmith wrote "Sergeant Bill King" stories and contributed to Black Terror and Fighting Yank comics; and wrote profiles such as Catherine the Great, Barney Ross, and Capt. Eddie Rickenbacker for the "Real Life Comics" series. From 1943-1946, under editor Vincent Fago at Timely Comics, she contributed to its U.S.A. Comics wartime series, writing scenarios for comics such as Jap Buster Johnson and The Destroyer. During these same years she wrote for Fawcett Publications, scripting for Fawcett Comics characters "Crisco and Jasper" and others. Highsmith also wrote for Western Comics from 1945 to 1947. When Highsmith wrote the psychological thriller novel The Talented Mr. Ripley (1955), one of the title character's first victims is a comic-book artist named Reddington: "Tom had a hunch about Reddington. He was a comic-book artist. He probably didn't know whether he was coming or going."

Answer this question "Did Western Comics give her problems when she used the character for her novels?"
output:

input: Hired by Tina Brown as a contributing artist in 1992, Spiegelman worked for The New Yorker for ten years. Spiegelman's first cover appeared on the February 15, 1993, Valentine's Day issue and showed a black West Indian woman and a Hasidic man kissing. The cover caused turmoil at The New Yorker offices. Spiegelman intended it to reference the Crown Heights riot of 1991 in which racial tensions led to the murder of a Jewish yeshiva student. Spiegelman had twenty-one New Yorker covers published, and submitted a number which were rejected for being too outrageous. Within The New Yorker's pages, Spiegelman contributed strips such as a collaboration titled "In the Dumps" with children's illustrator Maurice Sendak and an obituary to Charles M. Schulz titled "Abstract Thought is a Warm Puppy". An essay he had published there on Jack Cole, the creator of Plastic Man, called "Forms Stretched to their Limits" was to form the basis for a book in 2001 about Cole called Jack Cole and Plastic Man: Forms Stretched to their Limits. The same year, Voyager Company published a CD-ROM version of Maus with extensive supplementary material called The Complete Maus, and Spiegelman illustrated a 1923 poem by Joseph Moncure March called The Wild Party. Spiegelman contributed the essay "Getting in Touch With My Inner Racist" in the September 1, 1997 issue of Mother Jones. Spiegelman's influence and connections in New York cartooning circles drew the ire of political cartoonist Ted Rall in 1999. In an article titled "The King of Comix" in The Village Voice, Rall accused Spiegelman of the power to "make or break" a cartoonist's career in New York, while denigrating Spiegelman as "a guy with one great book in him". Cartoonist Danny Hellman responded by sending a forged email under Rall's name to thirty professionals; the prank escalated until Rall launched a defamation suit against Hellman for $1.5 million. Hellman published a "Legal Action Comics" benefit book to cover his legal costs, to which Spiegelman contributed a back-cover cartoon in which he relieves himself on a Rall-shaped urinal. In 1997, Spiegelman had his first children's book published: Open Me... I'm a Dog, with a narrator who tries to convince its readers that it is a dog via pop-ups and an attached leash. From 2000 to 2003 Spiegelman and Mouly edited three issues of the children's comics anthology Little Lit, with contributions from Raw alumni and children's book authors and illustrators.

Answer this question "what did he do for the new yorker?"
output: Spiegelman contributed strips such as a collaboration titled "In the Dumps"

input: In 1727, Benjamin Franklin, then 21, created the Junto, a group of "like minded aspiring artisans and tradesmen who hoped to improve themselves while they improved their community." The Junto was a discussion group for issues of the day; it subsequently gave rise to many organizations in Philadelphia. The Junto was modeled after English coffeehouses that Franklin knew well, and which had become the center of the spread of Enlightenment ideas in Britain. Reading was a great pastime of the Junto, but books were rare and expensive. The members created a library initially assembled from their own books after Franklin wrote: A proposition was made by me that since our books were often referr'd to in our disquisitions upon the inquiries, it might be convenient for us to have them altogether where we met, that upon occasion they might be consulted; and by thus clubbing our books to a common library, we should, while we lik'd to keep them together, have each of us the advantage of using the books of all the other members, which would be nearly as beneficial as if each owned the whole. This did not suffice, however. Franklin conceived the idea of a subscription library, which would pool the funds of the members to buy books for all to read. This was the birth of the Library Company of Philadelphia: its charter was composed by Franklin in 1731. In 1732, Franklin hired the first American librarian, Louis Timothee. The Library Company is now a great scholarly and research library.

Answer this question "Who is Junto?"
output:
a group of "like minded aspiring artisans and tradesmen who hoped to improve themselves while they improved their community.