The Unnamable — a narrative of which one has to ask whether the character is the voice or the voice is the character. Unable to communicate and therefore trapped in a language that he can neither avoid nor use, the narrative voice cannot achieve the closure it seeks. This paper deals with the problem of voice and narration of the aforementioned work by Samuel Beckett, drawing attention to the problem of a peculiar coexistence; namely, that of a soliloquy, a stream of consciousness, novelistic overtones, and of a questionable existence of the narrator. It should be emphasized that my consideration of the issue at hand arose in relation to the previous criticism of The Unnamable, which did not explore the thesis that I sought to explore in this paper, but did open the possibility of examining a theory such as the one I present, which is only the first attempt to address a problem that requires further study. In view of the foregoing, my intention is to offer a critical note supported by relevant references, with the aim of rejecting the idea of The Unnamable as a part of a trilogy of postmodern novels, placing it in the position of an atypical monologue and a prospective radio drama, actualizing itself beyond any literary periodization.