One of Beckett's most characteristic narrative forms works to cultivate a space of uncertainty, continually and compulsively placing its expression in doubt. That restless skeptic, the narrator of The Unnamable asks—the query-form itself indicating that fertile ambiguity—"how proceed? By aporia pure and simple?" (T 293), and later qualifying with yet more ambiguity, "I say aporia without knowing what it means' (293). Uncertainty about an uncertain statement about uncertainty seems aporia par excellence, while (and by) courting the possibility that it might not even be aporia that is being spoken of at all.¹ This essentially ambiguous speech, an utterance that states nothing other than doubt in itself, closely resembles the practices enacted by Levinas's writing. Gesturing toward an other that is uncertain because shifting—indeed alive —Levinas situates the very otherness of the other within the shelter of an uncertainty, for the "absolute Other is the discovery no sooner discovered than put in question — truth persecuted. A rebirth of uncertainty: this is the very mode according to which the Other can pass among us without becoming an old acquaintance of this world" (PN 92, my italics).