Jacques Lacan, in an unrealized trip to China planned for 1974, was apparently intending to study the Chinese unconscious, postulating that it would be structured like a system of writing. Taking Lacan’s postulate as its point of departure, this article will present his thinking in relation to the Saussurian sign, enantiosemy, and anagrams. Lacan had studied Chinese and worked in the 1970s with François Cheng on several classical texts (Laozi, Mencius, Shitao), and so he was well positioned to inquire into the question of linearity in language and the relationship between the graphic and the phonic, which in Chinese would differ from that obtaining in alphabetic systems. His knowledge of the language seems to have led him to postulate that, whereas the central issue in psychoanalysis was the phonic signifier, the problem might be posed differently for Chinese; hence the hypothesis that, for Lacan, the Chinese may dream in graphic characters.