This article explores the ways in which the privileging of the Oedipus complex in psychoanalysis has signaled a forgetting of the primal scene. Through a close reading of Bion’s Cogitations (1992) and Pasolini’s film Oedipus Rex (1967), this article examines the Oedipus myth in relation to the primal scene as represented by Oedipus’s encounter with the Sphinx, hence establishing the Oedipus myth as the ultimate story about the acquisition of knowledge. Drawing on Bion, Laplanche, Faimberg, and others, this article grapples with the paradoxes involved in the process of “getting to know something,” querying the limits of knowing and not knowing, and the nature of such knowledge.