Having journeyed through several very different voices, what remains is the task of tying together some of the tangle of threads lying on the workshop floor of this book, and that is the job of these final paragraphs. For the last three chapters, this volume has been largely caught up in the specificities of the various case studies, but I want to emphasize here the extent to which those particular voices can be understood as exemplars of a larger point that extends far beyond the boundaries of their sonic details. In their own ways, each of the voices explored in detail illustrates the voice's capacity to provide queer spaces, possibilities for queer listening, and opportunities for queer identifications by listeners. What the voice's queer potential relies on is ultimately its liminality. It operates in a third space between the body of the speaker/singer and that of the listener, and is thus both beyond those bodies and yet a fundamentally bodily interaction. The contradictions and paradoxes of the voice are many, and they are crucial to its queer potential. It is genderless but gendered by listeners (both in specific listening moments and in systematic ways); it is naturalized at least as much as it is natural; it is both the carrier of language and the object that supersedes it.