Skip to Main Content
Skip Nav Destination

This chapter argues that escape is a site for genre infidelity. With escape’s focus on change, it is open to misfires and misalignments both in the initial utterance of the escape story as well as in its audience uptake. In its veering trajectory, escape often alters the genre conventions in which it finds itself. Looking at Sharon Hayes’s reperformance of Patty Hearst’s Symbionese Liberation Army audio ransom screeds, language and speech emerge as key elements of the retelling of the escape story and its refusal. Hayes work brings the listener’s attention to the multivocality of any story, to its relational sounding

This content is only available as PDF.
You do not currently have access to this chapter.
Don't already have an account? Register
Close Modal

or Create an Account

Close Modal
Close Modal