Robinson Crusoe is a novel obsessed with voice. Shipwrecked on his island, Crusoe teaches a parrot to speak and engages in silent conversations with God and himself and, when he finally meets Friday, he communicates in the discourses of master, educator, and companion. In silent reading of the print text, the reader subvocalises and dramatises the grammar, syntax, and pronunciation of Friday’s speech and more or less unconsciously creates a cohesive whole out of the dialogue sections and the passages narrated by Crusoe. In audiobook narration this process is externalised in the actual vocalisation of the text. The performing narrator has to make conscious choices depending on how he construes the Crusoe-Friday relationship and in what genre conventions he places it. Moreover, since Friday does not appear until two thirds into the text, the performing narrator needs to fit the last third into the overall vocal profile to produce a cohesive effect. This article focuses on the vocal configurations of Friday as manifest in six audiobook recordings of the novel. Material voice characteristics, such as quality, rhythm, and diction, as well as contextualising aspects of ethnicity, age, and nationality are taken into account. The rhetorical situation in which the performing narrator intensifies intentionality is also foregrounded. © Cecilia Björkén-Nyberg 2024