A Man Who Had No Eyes

“Mr. Parsons, standing there in front of his hotel and noting the clack-clack approach of the sightless man, felt a sudden and foolish sort of pity for all blind creatures.”

Mr. Parsons is characterized as compassionate, yet his sympathies position him as superior. That Parsons feels for all “blind creatures” creates the illusion that Mr. Parsons is not blind. The pity that he feels for the man is described as “foolish,” giving a hint that Markwardt, the immediate object of his sympathy, does not deserve his kindness. At the same time, Parsons “listens” to the “clack-clack” sound of the man’s cane to understand that the man is blind. The narrative foreshadows Parsons’s blindness and his dependence on auditory stimuli to navigate his surroundings.

“And, thought Mr. Parsons, he was very glad to be alive.”

Mr. Parsons’s happiness at being alive is juxtaposed with his pity for people with blindness. This contrast adds to the illusion that he himself is not blind. The sentence also reflects his refusal to view his disability as an insurmountable obstacle, and the gratitude he feels for the youth and health that he is left with. Mr. Parsons’s attitude supports the theme of Human Agency and Disability.

“And he had done it alone, unaided, struggling beneath handicaps…and he was still young.”

The narrative provides disjointed details about Mr. Parsons’s past to maintain the suspense of his accident and connection to Markwardt. This suspense thematically develops Appearance Versus Reality. The narration consciously uses the word “handicap” instead of directly referring to his blindness so as to prevent the readers from guessing that Parsons is blind until the story’s closing line. Mr. Parsons’s “bootstrap mentality” portrays him as different from Markwardt. This sentence highlights his hopeful nature and the tendency to focus on the positive things in life.

“The blue air of spring, fresh from its memories of windy cools and lush shrubbery, could thrill him with eagerness.”

The imagery of pleasant spring weather reflects Mr. Parsons’s disposition. Later, the narrator references the “damp” spring breeze to signal Mr. Parsons’s internal response to Markwardt’s lies. The weather is a device for indirectly hinting at Mr. Parsons’s change in mood. It also connotes the vitality and vigor of Mr. Parsons’s being, drawing the attention away from his physical disability.

“And, Mr., you wouldn’t mind helping a poor guy out?”

The dialogue points to Markwardt’s slyness and ability to coax strangers into sympathizing with him. In a bid to manipulate Mr. Parsons into buying his cigarette lighter, Markwardt portrays himself as a “down on his luck” everyman. This request characterizes Markwardt as a man who feels he is entitled to pity and charity.

“Then he added with an insane sort of pride: ‘Westbury, sir. I was one of ’em.’”

The narrator’s note on how Markwardt reveals the cause of his blindness communicates the delight he takes in advertising his tragedy. The phrase “insane sort of pride” is indicative of his obsession with his disability and the eagerness with which he launches into the narration of his past. Another form of manipulation is how Markwardt addresses Parsons as “sir” and “guv’nor.” In doing so, Markwardt forces Parsons into a position of power, thereby making Parsons accountable for Markwardt’s wellbeing.

“‘Westbury,’ repeated Mr. Parsons.”

The one-word dialogue by Mr. Parsons belies the intensity of the emotion he feels when he realizes that the man before him may have been one of his coworkers at the factory where he lost his eyesight. The terse, nondescriptive dialogue skillfully sustains the suspense and increases the dramatic intensity of Mr. Parsons’s revelations at the end of the story.

“Mr. Parsons coughed.”

This is Mr. Parsons’s only immediate response to Markwardt’s detailed description of the smoke and fire of the explosion. This short yet telling detail communicates Mr. Parsons’s connection to Markwardt’s tale. Parsons physically reacts to the memory of the disaster, coughing as though he is transported back to the scene of the traumatic accident.

“‘Insured,’ repeated his listener. ‘Yes. That’s what I sell—’”

This is part of a pattern in Mr. Parsons’s reactions to Markwardt’s narration of the past accident. Parsons picks out crucial words that have larger implications for the narrative and repeats them. The word “insured” has thematic relevance and supports Human Agency and Disability. Although Mr. Parsons was also an uninsured worker who lost his eyesight like Markwardt, he becomes a successful insurance-seller. Structurally, the dialogue, cut off by Markwardt’s rude interruption, is an effective technique for withholding information and maintaining suspense, as well as depicting Markwardt’s self-obsession.

“‘You want to know how I lost my eyes,’ cried the man.”

Markwardt forces the story of his blindness on a reticent Mr. Parsons. At this point, Markwardt peddles his life story like an enthusiastic hawker. The word “cried” effectively communicates his enthusiasm and paradoxical delight in his adversity. This depiction of Markwardt also thematically develops Human Agency and Disability.

“‘Not quite,’ said Mr. Parsons.”

This phrase marks the most crucial turn in the narrative. Mr. Parsons reveals that he is aware of Markwardt’s identity and his treachery. Parsons’s brief, controlled response intensifies the dramatic import of the plot twist.

“You were bigger than I was, Markwardt.”

This is an example of situational irony, in which the opposite of what is expected occurs. Mr. Parsons invalidates Markwardt’s story by revealing that he, in fact, knows the man by name. The story is framed as a conversation between two strangers, yet unbeknownst to both Markwardt and the readers, Mr. Parsons knows exactly who the man is and what he has done.

“People in the street turned to stare at him.”

This is one of the very few references to the setting. Hitherto, the narrative exclusively focuses on the actions and dialogues of the two characters. The mention of passersby turning to stare at Markwardt signifies his extreme distress and shock. The strategic placing of the reference, between the upper-case ravings of Markwardt, provides an abrupt dramatic change in perspective.