Jorge Sacido-Romero, Ph.D. (1967), is Senior Lecturer in English at the University of Santiago de Compostela. He has published widely on modern British fiction writers and is the editor of Modernism, Postmodernism, and the Short Story in English (Rodopi, 2012).Sylvia Mieszkowski, Ph.D. (1973), is currently guest professor of English literature at Bayreuth University. She has published Teasing Narratives (2003), a comparative study on tales of dysfunctional seduction, and Resonant Alterities, a monograph on sound in non-realist fiction (2014).

• AcknowledgementsPreface: Is There a Voice in the Text? Mladen DolarRevoicing Writing: An Introduction to TheorizingVocality Jorge Sacido-Romero and Sylvia Mieszkowski‘Secondary Vocality’ and the Sound Defect Garrett StewartSection I: The Nineteenth CenturyThe Object Voice in Romantic Irish NovelsPeter WeisePoe, Voice and the Origin of Horror Fiction Fred BottingDouble Voice and Extimate Singing in TrilbyBruce WyseSection II: The Twentieth CenturyBloom’s Neume: The Object Voice in the “Sirens” Episode in Joyce’s Ulysses Phillip MahoneyFantasizing Agency and Otherness through Voice and Voicelessness in Ellison’s Invisible ManNatalja ChestopalovaThe Voice in Twentieth-Century English Short Fiction: E.M. Forster, V.S. Pritchett and Muriel Spark Jorge Sacido-RomeroSection III: The Twenty-First CenturyVoices of Terror and Horror: Towards an Acoustics of Modern Gothic Matt Foley“That which cannot be said”: Voice, Desire and the Uncanny in Armistead Maupin’s The Night Listener Sylvia Mieszkowski“It’s only combinations of letters, after all, isn’t it”: The “Voice” and Spirit Mediums in Thomas Pynchon’s Against the Day (2006)Alexander Hope‘Voice-Trace’ in James Chapman’s How Is This Going to Continue? (2007)Marcin StawiarskiNotes on Contributors

“The editors succeeded in selecting and organizing a number of high quality contributions by some of the most prominent names in the field in a book which definitely fulfils its aims. Sound Effects can at times make a demanding reading but it is also a much needed one for academics interested on the ways literary criticism intersects with psychoanalytic theory and sound studies. By triangulating these fields, the volume does not only contribute to fill a critical vacuum, but it also paves the way to further research on the vocal effects of texts and the intriguing notion of the “object voice” in fiction.”- María Casado Villanueva, University College of Southeast Norway, in Nexus, Vol. 2 2017 pp. 54-59

Jorge Sacido-Romero, Ph.D. (1967), is Senior Lecturer in English at the University of Santiago de Compostela. He has published widely on modern British fiction writers and is the editor of Modernism, Postmodernism, and the Short Story in English (Rodopi, 2012).Sylvia Mieszkowski, Ph.D. (1973), is currently guest professor of English literature at Bayreuth University. She has published Teasing Narratives (2003), a comparative study on tales of dysfunctional seduction, and Resonant Alterities, a monograph on sound in non-realist fiction (2014).

• AcknowledgementsPreface: Is There a Voice in the Text? Mladen DolarRevoicing Writing: An Introduction to TheorizingVocality Jorge Sacido-Romero and Sylvia Mieszkowski‘Secondary Vocality’ and the Sound Defect Garrett StewartSection I: The Nineteenth CenturyThe Object Voice in Romantic Irish NovelsPeter WeisePoe, Voice and the Origin of Horror Fiction Fred BottingDouble Voice and Extimate Singing in TrilbyBruce WyseSection II: The Twentieth CenturyBloom’s Neume: The Object Voice in the “Sirens” Episode in Joyce’s Ulysses Phillip MahoneyFantasizing Agency and Otherness through Voice and Voicelessness in Ellison’s Invisible ManNatalja ChestopalovaThe Voice in Twentieth-Century English Short Fiction: E.M. Forster, V.S. Pritchett and Muriel Spark Jorge Sacido-RomeroSection III: The Twenty-First CenturyVoices of Terror and Horror: Towards an Acoustics of Modern Gothic Matt Foley“That which cannot be said”: Voice, Desire and the Uncanny in Armistead Maupin’s The Night Listener Sylvia Mieszkowski“It’s only combinations of letters, after all, isn’t it”: The “Voice” and Spirit Mediums in Thomas Pynchon’s Against the Day (2006)Alexander Hope‘Voice-Trace’ in James Chapman’s How Is This Going to Continue? (2007)Marcin StawiarskiNotes on Contributors

“The editors succeeded in selecting and organizing a number of high quality contributions by some of the most prominent names in the field in a book which definitely fulfils its aims. Sound Effects can at times make a demanding reading but it is also a much needed one for academics interested on the ways literary criticism intersects with psychoanalytic theory and sound studies. By triangulating these fields, the volume does not only contribute to fill a critical vacuum, but it also paves the way to further research on the vocal effects of texts and the intriguing notion of the “object voice” in fiction.”- María Casado Villanueva, University College of Southeast Norway, in Nexus, Vol. 2 2017 pp. 54-59

Jorge Sacido-Romero, Ph.D. (1967), is Senior Lecturer in English at the University of Santiago de Compostela. He has published widely on modern British fiction writers and is the editor of Modernism, Postmodernism, and the Short Story in English (Rodopi, 2012).Sylvia Mieszkowski, Ph.D. (1973), is currently guest professor of English literature at Bayreuth University. She has published Teasing Narratives (2003), a comparative study on tales of dysfunctional seduction, and Resonant Alterities, a monograph on sound in non-realist fiction (2014).

• AcknowledgementsPreface: Is There a Voice in the Text? Mladen DolarRevoicing Writing: An Introduction to TheorizingVocality Jorge Sacido-Romero and Sylvia Mieszkowski‘Secondary Vocality’ and the Sound Defect Garrett StewartSection I: The Nineteenth CenturyThe Object Voice in Romantic Irish NovelsPeter WeisePoe, Voice and the Origin of Horror Fiction Fred BottingDouble Voice and Extimate Singing in TrilbyBruce WyseSection II: The Twentieth CenturyBloom’s Neume: The Object Voice in the “Sirens” Episode in Joyce’s Ulysses Phillip MahoneyFantasizing Agency and Otherness through Voice and Voicelessness in Ellison’s Invisible ManNatalja ChestopalovaThe Voice in Twentieth-Century English Short Fiction: E.M. Forster, V.S. Pritchett and Muriel Spark Jorge Sacido-RomeroSection III: The Twenty-First CenturyVoices of Terror and Horror: Towards an Acoustics of Modern Gothic Matt Foley“That which cannot be said”: Voice, Desire and the Uncanny in Armistead Maupin’s The Night Listener Sylvia Mieszkowski“It’s only combinations of letters, after all, isn’t it”: The “Voice” and Spirit Mediums in Thomas Pynchon’s Against the Day (2006)Alexander Hope‘Voice-Trace’ in James Chapman’s How Is This Going to Continue? (2007)Marcin StawiarskiNotes on Contributors

“The editors succeeded in selecting and organizing a number of high quality contributions by some of the most prominent names in the field in a book which definitely fulfils its aims. Sound Effects can at times make a demanding reading but it is also a much needed one for academics interested on the ways literary criticism intersects with psychoanalytic theory and sound studies. By triangulating these fields, the volume does not only contribute to fill a critical vacuum, but it also paves the way to further research on the vocal effects of texts and the intriguing notion of the “object voice” in fiction.”- María Casado Villanueva, University College of Southeast Norway, in Nexus, Vol. 2 2017 pp. 54-59