In the excitement over Carol Gilligan's In a Different Voice, it is easy to forget that she is writing not about life but about narratives. Her evidence rests almost entirely on narratives, either stories women and men tell about themselves or their constructions of someone else's story. Moreover, the shape of Gilligan's text itself resembles a narrative in which a story is told about two fictionalized creations, the male ethic of rule and the female ethic of care, from their past history of mutual misunderstanding to their present state of conflict and eventual reconciliation.' To say that Gilligan's text is a narrative is to imply, among other things, that it is a story both shaped by and inextricable from the voice that tells the story. This essay will explore the characteristics of that voice and show that these characteristics have a great deal to do with the shape of Gilligan's story, that, indeed, voice and form work together to suppress the sound of women's anger. Since suppressed vocalization is necessarily a tricky sub-