The source of anxiety, for Lacan, is not the Law or the Names-of-the-Father but the unnameable. Therefore, Lacan suggests that the source of anxiety is not the trauma caused by the disconnection from the mother but the absence of this trauma (the lack of lack). The reason for this is that the infant cannot establish its desire through the mediation of the Other, as it cannot disconnect itself from the mother. Then, the main function of the Name of the Father is to enable the infant to be positioned in the symbolic order by stopping the desire to be unified with the mother. For Lacan, the best sign of this is the fact that anxiety arises as a warning signal when the possibility of encountering the unnameable that resists language comes up, to stop the subject from relapsing into the imaginary. Anxiety can be defined as the affect the subject experiences in the face of the danger of being devoured by the images in the absence of the Name-of-the-Father. There is the surplus material, which, Lacan suggests, appears through the Gaze in the mirror stage, beyond the images and the symbols, but resists both of them, enabling the Real that implies an unnameable realm to become possible through the images. While Freud affiliates anxiety with the lack, Lacan, by referring to an unnameable surplus, relates anxiety not with the lack, but with the danger of the loss of this lack. Due to this surplus (objet a), beyond the unnameable nature of the Real, first the ego is constituted through the images; later this objet a is constituted as a rupture (implying the impossibility of representation) in the symbolic order by the integration of the ego to the chain of the signifiers through the Name of the Father (castration); thus, unconscious desire is constituted. As the unsymbolisable nature of objet a bears in itself the possibility of desire, the affect of anxiety signifies the main function of objet a, that is, its power in constituting desire and symbolic order in the face of the risk of being devoured by the images. Implying the unnameable surplus in the beginning, a gap due to the impossibility of its representation, an absent object, objet a, comes to signify objet a, which is inarticulable in language but which makes language possible. We claim that in The Metamorphosis, there is a structuring correspondence between Gregor’s move away from the Names of the Father/his attempt to escape from the Law as a result of his way of struggling with anxiety, and his transformation to a bug. This correspondence enables us to re-read Kafka’s The Metamorphosis as an alternative to the ways of confronting anxiety. Gregor’s struggle against anxiety is generated by the unnameable that makes itself felt now and then, and that enables him to constitute himself as a desiring subject in the symbolic. The rupture that comes into being as an extra-linguistic suture, and that would constitute Gregor’s desire as the guarantor of the Lack, becomes dysfunctional due to the excessive oppression coming from the metonymic extensions of the Names-of-the-Father; this carries Gregor, distancing him from his anxiety, to a site of being where there is no lack of lack. Indifference to anxiety as a result of the lack of lack comes into being simultaneously with the annulment of the object of desire; this leads to the situation in which metamorphosis transforms Gregor to an animal that is unable to free itself from the capturing power of images. As anxiety is an affect experienced by the human subject in the symbolic order in the face of being thrown out of the Law (towards the unnameable), Kafka’s The Metamorphosis can be taken as fictionalisation of what happens when one tries to turn his back on the symbolic and moves beyond its limits. It can also be taken as a re-reading of Lacanian psychotic structure (rather than submission to the Name of the Father, escaping from it). The fact that Gregor’s relation with anxiety comes to the fore in the ambivalence between giving up on the symbolic roles in the face of the Name of the Father and his attempt at re-attaching himself to the symbolic roles, causes us to ask the question of whether metamorphosis is an option or something one is exposed to. Gregor seems to be faced with two options: he will either cling to his anxiety by standing against these impositions that annul the suture that constitutes his desire, or leave himself to the endless flow of the images moving him to the lack of lack. By taking the Lacanian ideas of anxiety and objet a as its conceptual backcloth, this essay aims to reconsider and re-read Gregor’s choice through the extended metaphor of metamorphosis in The Metamorphosis.