Here’s one of Hieronymus Schitzolini’s favorite quotes from Roland Barthes’ Camera Lucida: 
“What Calvino calls “the true total photograph” accomplishes the unheard-of identification of reality (“that-has-been”) with truth (“there-she-is”), it becomes at once evidential and exclamative; it bears the effigy to that crazy point where affect (Love, compassion, grief, enthusiasm, desire) is a guarantee of Being.  It then approaches, to all intents, madness.”
Hieronymus concocted the story “Accidental Peeping Tom” in order to show the absurd quest for essence and it’s counterfeit, purity.  He believed in the strength of mediums defined by what other mediums cannot do.  Along this line, photography that emphasizes story telling tends to omit the properties of a photograph itself.  Film and writing share linear progression in terms of how they are received.  But not a photograph.  Thus it always seemed quixotic to suggest that a photo tells a narrative when it actually cannot.  It’s akin to photographers who make that other claim that their medium is about color when that actually belongs to painting.  Of course, this story is written not photographed; it’s in its medium while speaking of a character who practices his art out of his medium and explores the folly from the perspective of a narrator whose voice diverges from the author’s penchant for scatterbrained philosophical rhizomes.  

Klein Fiasco