“Every so often a book appears after decades of historical spadework and deep thinking. Voice Machines is that book. Gordon’s vivid imagination and her analytical skill at suturing the smallest details to the largest conceptual understandings gleam on every page. With bracing lucidity, she builds her histories brick by brick from long-lost archives while also intuiting powerful meanings from present-day politics and artefacts. That double motion enables her canny reflections on voice, body, technology, race, the machinic, the postcolonial, and the posthuman to lead to a reimagining of castrato history. The upshot is something of a miracle. Voice Machines gives us a radically new argument, delivered with estimable intellectual power, wit, and verve, about the stakes of musical bodies as machinic assemblages.”

Martha Feldman, author of 'The Castrato: Reflections on Natures and Kinds'

“Voice Machines is a terrific book. Gordon doesn’t hold back, using the figure of the castrato to rethink the history of sound reproduction, organology tout court, the naive claims of sound studies and posthumanism, histories of the South, conceits of sex, and what it means to be human. The history of the machine, like the history of the human, is complex. And it is this complexity, as much as the complexity of the sound world of early modern Europe, that jostles for our attention on every page. An epistemological pickle, the castrato was also a figure who, perfected through surgery, enhanced sensory knowledge and extended physical nature by, for example, transubstantiating matters like air or breath into others, like voice. The sound of that voice becomes newly visceral and material in these pages.”

J. Q. Davies, author of 'Creatures of the Air: Music, Atlantic Spirits, Breath, 1817–1913'