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The constitution of madness as a mental illness, at the end of the eighteenth century, affords the evidence of a broken dialogue, posits the separation as already effected, and thrusts into oblivion all those stammered, imperfect words without fixed syntax in which the exchange between madness and reason was made. The language of psychiatry, which is a monologue of reason about madness, has been established only on the basis of such a silence.
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Preface

 

Michel Foucault

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In this century the writer has carried on a conversation with madness. We might almost say of the twentieth-century writer that he aspires to madness. Some have made it, of course, and they hold special places in our regard. To a writer, madness is a final distillation of self, a final editing down. It's the drowning out of false voices.

 

Don DeLillo

 

In the Renaissance, madness was present everywhere and mingled with every experience by its images or its dangers. During the classical period, madness was shown, but on the other side of bars; if present, it was at a distance, under the eyes of a reason that no longer felt any relation to it and that would not compromise itself by too close a resemblance. Madness had become a thing to look at: no longer a monster inside oneself, but an animal with strange mechanisms, a bestiality from which man had long since been suppressed.

 

Michel Foucault

 

Between these two unique and symmetrical events, something happens whose ambiguity has left the historians of medicine at a loss: blind repression in an absolutist regime, according to some; but according to others, the gradual discovery by science and philanthropy of madness in its positive truth. As a matter of fact, beneath these reversible meanings, a structure is forming which does not resolve the ambiguity but determines it. It is this structure which accounts for the transition from the medieval and humanist experience of madness to our own experience, which confines insanity within mental illness. In the Middle Ages and until the Renaissance, man's dispute with madness was a dramatic debate in which he confronted the secret powers of the world; the experience of madness was clouded by images of the Fall and the Will of God, of the Beast and the Metamorphosis, and of all the marvelous secrets of Knowledge. In our era, the experience of madness remains silent in the composure of a knowledge which, knowing too much about madness, forgets it. But from one of these experiences to the other, the shift has been made by a world without images, without positive character, in a kind of silent transparency which reveals— as mute institution, act without commentary, immediate knowledge—a great motionless structure; this structure is one of neither drama nor knowledge; it is the point where history is immobilized in the tragic category which both establishes and impugns it.

 

Michel Foucault

 

We must not understand it [madness] as reason diseased, or as reason lost or alienated, but quite simply as reason dazzled.

 

Michel Foucault

 

Most SF is about madness, or what is currently ruled to be madness; this is part of its attraction — it's always playing with how much the human mind can encompass.

 

Brian Aldiss