This study delves into the symbolic and mythological dimensions of the feminine identity quest as portrayed in Catherine Clément’s La Valse inachevée, with particular attention to how myth serves not only as a cultural framework but also as a means of emancipation from societal and linguistic constraints. Through a mythocritical lens, the narrative is examined via the motif of the masked ball—interpreted as a Foucauldian heterotopia—where the interplay between masking and unveiling, along with the expressive movement of the dancing body, opens space for challenging conventional feminine archetypes. The waltz itself is shown to act as a transformative experience, allowing for a euphemized encounter with death that makes possible a form of ontological rebirth. Rather than merely recycling established myths, Clément engages in an act of myth-making that foregrounds “incompleteness” as a specifically feminine relation to time, presence, and becoming. In this light, incompleteness is not a flaw to be resolved but a vital mode of resistance—an openended gesture that refuses patriarchal closure and gestures toward new, fluid possibilities for feminine subjectivity.