The Blind Side

Nonfiction | Book | Adult | Published in 2006

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Summary

Chapter Summaries & Analyses

Chapters 1-2

Chapters 3-4

Chapters 5-6

Chapters 7-8

Chapters 9-10

Chapters 11–12

Key Figures

Themes

Symbols & Motifs

Important Quotes

Essay Topics

Tools

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Discussion Questions

Symbols & Motifs

The Left Tackle

The left tackle position functions both literally and symbolically in The Blind Side. Lewis devotes considerable time to discussing how the position evolved in the NFL, from being seen as part of the collective group of offensive lineman whose roles are virtually indistinguishable from each other to becoming, on average, the second-highest paid position on an NFL team.

Symbolically, the left tackle also represents someone whose value is overlooked or ignored. The concept applies especially in Chapters Eleven and Twelve, when Lewis discusses the many, talented athletes who are never discovered or developed because they do not have access to a support system. Lewis applies this both to athletes and to other uniquely-skilled individuals when he writes, “Pity the kid inside Hurt Village who was born to play the piano, or manage people, or trade bonds” (264). Not only athletes but also artists and individuals with talent for dealing with people or numbers, among others, are hidden in plain sight, grouped as a collective rather than recognized for their unique skills and potential contributions.

In the first chapter, when Lewis discusses the moment after the play that ended Theismann’s career, he describes the linemen, including left tackle Russ Grimm, hurrying toward the sideline “like men fleeing the scene of a crime” (22). That play has been revisited for decades, fixing in time the left tackle’s failure. No matter how many successful plays Russ Grimm participated in, his most memorable play is the one with the disastrous outcome. The Blind Side implicitly invites readers to consider who they are overlooking, and how that can be changed.

The Blind Side

Like the left tackle, the blind side operates figuratively and literally in The Blind Side. In the game of football, the blind side refers to the side the quarterback cannot see—typically his left side, since most quarterbacks are right-handed. He cannot see a pass rusher coming and relies on his offensive line to protect him. As Theismann’s example shows, the stakes are extraordinarily high. It is not only a case of winning or losing a football game but also sustaining a life-changing injury. In the figurative sense, the blind side symbolizes what people remain blind to until it smacks into them. This could be a great player arriving on the scene (such as Lawrence Taylor), a person entering your life and changing it (as in the relationship between Michael and the Tuohys), or a system change being suddenly felt (such as the sudden salary jump for left tackles).

Lewis posits that football is a rare sport for the fact that “what you don’t see is often the most important thing” (104). He relates this specifically to the offensive line: its play is absolutely critical to success on offense, yet all eyes are focused on the quarterback, running backs, and wide receivers. Few casual fans understand the importance of the offensive line, and few announcers pay attention to them either, simply because what they do is not perceived as the most exciting action on the field. In the social sense, Lewis invites readers to wonder who in society they are overlooking and what it might mean to bring them out of the shadows.

Fragmented Storytelling

Lewis moves back and forth in time, following different people at different points in their lives, and shifting from one location to another and, in some instances, back again. He also alternates between telling Michael’s story and telling the story of how football evolved. The changes that culminated in Michael becoming a highly sought-after college prospect took twenty-five years to develop. Lewis highlights turning points, but he does not always cover them chronologically. In this sense, he covers changes as their importance is discovered—over time and sometimes long after the event itself took place. While this form of storytelling can disorient the reader, it also supports the theme that motives, reasons, and explanation are complicated and difficult to break down. It also introduces Michael in the way the Tuohys got to know him—as initially quiet and reluctant to share but ultimately protective and kind. Lewis fills out his story in Chapter Eleven, where readers get a glimpse into his childhood, and life before the Tuohys.