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Abstract

This paper aims to demonstrate how, in The Light That Goes Out…, The
Sunday of the Blind Man, and On Heroes and Tombs, blindness represents
simultaneously a privileged and a damned condition for the blind people. Whether
they go down the spiral of silence that is specific to a minority group, or they
practice a kind of ritual silence, be it sacred or demonic, the mystery that surrounds
blind people is maintained by insufficient communication. “God’s blind man” used
silence as an instrument for facilitating his soul’s salvation, but silence is also a
reflection of his inner peace. The exact opposite kind of blind people are described
by Fernando Vidal Olmos, whom he considers demonic agents, the silence
surrounding them creating the ideal context for the development of a secret society.
Making contact with the occult world, Cesare gradually adopts silence, while
simultaneously accepting the status of a blind man. The type of silence – voluntary
of involuntary – is determined by the blind person’s status, such as that of the
puppet of an occult force, that of the leader of the organisation that controls the
entire world, or that of a devoted servant of God. An ascetic beggar, a
personification of the demonic, or a regular person, the blind individual displays
different kinds of silence as his preferred method of communication: transcendental,
demonic or based on absence.