In the highly multisensory process of re-collecting memories, the Gothic insistently privileges touch as a motif of both separation and intimacy. Whereas most scholars elect a study of the gaze, founded on ocularcentrism, as their preferred framework for studying character relations as well as our own positioning as viewers, I turn to the hand as a key vehicle of re-collection and a primary site of affect and affection. Looking at hand amputation as portrayed in Orlacs Hände (Wiene, 1924) and The Unknown (Browning, 1927), this chapter draws on disability studies to interrogate the complication of identity in relation to a body that has become othered and exilic through injury. Based on the work of, among others, Karen Barad, Monika Pietrzak-Franger, and Thomas Fahy, I analyse the wounded body as a discursive site that is fundamentally political. The sorrows and existential dilemmas of the differently-abled protagonists find visual reference in wounded war bodies, used and then disposed of by the state.