Abstract
Samuel Beckett's The Unnamable' bears its title as the testimony of a thoroughgoing paradox. Whoever or whatever bestows the title writes from the position of author or authority, the position of one who, unlike the unnamable, can be named and who therefore can in turn name. Yet this title and the text that lies beyond its frame together create an upheaval in the relation of author to writing, a radical shift unsettling the narrative ground of late twentieth-century fiction, the diverse effects of which are still being registered. In the tradition of Beckett criticism, The Unnamable is taken as the last volume of a trilogy that begins with Molloy, continues with
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