“My name is Stephen Leeds, and I am perfectly sane. My hallucinations, however, are all quite mad.”

“Even now I cannot believe that I am still alive and writing this account of the emperor's death. I put my hands to my eyes, wondering if what I am relating here is not all a dream - or maybe it is not a dream: perhaps it is a delusion and I am mad, the victim of some extraordinary and monstrous hallucination. How comes it that when he is dead I am still numbered among the living?”

“Why? I mean, why you? I can perfectly comprehend not liking my husband. I dislike him intensely most of the time.” Professor Lyall stifled a chuckle. “I am given to understand that he does not approve of spelling one’ s name with two ll’s. He finds it inexcusably Welsh. I suspect he may be quite taken with you, however.”

“I am by turns a petulant adolescent and a mature man, a melancholy loner and a wit telling actors their trade. I cannot decide whether I'm a philosopher or a moping teenager, a poet or a murderer, a procrastinator or a man of action. I might be truly mad or sane pretending to be mad or even mad pretending to be sane.”

“You will say that I am old and mad, was what Michaelangelo wrote, but I answer that there is no better way of being sane and free from anxiety than by being mad.”

“The Photograph is an extended, loaded evidence — as if it caricatured not the figure of what it represents (quite the converse) but its very existence ... The Photograph then becomes a bizarre (i)medium(i), a new form of hallucination: false on the level of perception, true on the level of time: a temporal hallucination, so to speak, a modest (o)shared(i) hallucination (on the one hand 'it is not there,' on the other 'but it has indeed been'): a mad image, chafed by reality.”