This chapter explores the connections between the meaning and feel of blindness. The authors examine two representations of blindness in order to explicate the metanarrative to which they allude. The first representation, Martin Brest’s Scent of a Woman (1992), is a film that portrays blindness within the assumed authority of sight. The second representation, Lynn Manning’s play Weights (2000), is posited as a salient contrast. The chapter reveals not merely the feeling of blindness but also its feel, something that must be attended to, listened to (and for), in ways much different from attending to the pity that informs homogenous notions of ‘the blind’ through the assumed authority of the normative social order