FOR MORE THAN ONE VOICE Toward a Philosophy of Vocal Expression Adriana Cavarero “Translated and with an Introduction by Paul A. KotemanIntroduction ‘Arc meas hie he aig pein, re ce ello who Sen te ho deen fo al ve ale Cann A Kgs ‘The Voice According to Calvino Inne ois las, ingenious texts, Halo Calvino leaves us the extra inary Bute of kg who livens. art ofa colecon dedicated othe ve sense, the king in question represents hearing, He seated immobile on the tone, cus picked n oder oinereept and decipher the sounds that surround hr, Besiged by the logic of his owa power, the onl activity of the monarch consists in an acoustic contol ofthe realm. Inthe palace, hich, lke "egrest ern” ha "pavilions, ducts shel labyrinths” every oud ie sign of either dln o bteya." There are many hidden spies to interpie: whisper, rumors, vibrations, crashes, oceans of iene. Nat tually, tte are also human voices in the palace. Bt "very voie chat Knows iis hear by the King aires a col gla’ i becomes a courly ‘ice, artifical, filee—noe So much for what it says but in is very Sonorous materiality, The King who listens knows his of bee, he heats it (lesen Tn keeping with «tradition that goes back to the ancient tyrant, Calvino’ kings prisoner of is own stem, The logic ir obsessive, volene, pesecucory, and sspicous Because he is bvaysthrestened by hs iam rent overthrow, the kings power imposes on him a vigilant insomnia, However his vigilance isin this cas, excurvely auditory. As if in a sonorous nightmare, the egal are amplied to a level of pezeptin dat jas acute asi impotent. The king can do nothing exept listen, ner cept sounds and try to incerpreedheir meaning, The words, which ae re