Abstract
Taking as its starting point critical disagreements surrounding the gender of the narrator of "Enough", this paper draws attention to deeply embedded similarities between the key "scene of disgrace" in this text and the memory-episode of the mother's "cutting retort" in Company (together with its precursors in earlier texts). The scene of disgrace is read as yet another version of the scene of the cutting retort, and the gender-indeterminacy produced by this reading is then related to the familiar Beckettian scenario of the imperfect (and therefore continually repeated) birth.
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