This chapter discusses the soundscapes, especially speech and animal voices, in two dystopic New Zealand Young Adult novels: Jack Lasenby’s The Conjurer (1992) and Bernard Beckett’s Genesis (2006). Both deal with the problem of rationality and freedom of thought versus an oppressive regime. Storytelling is central in both, though readers learn, alongside the protagonists, that myths may be distorted to support ideologies. The almost clinical quiet in Genesis gives the novel an eery quality and a sense of foreboding. The complete absence of animal sounds hints that this allegedly perfect state may not really be as peaceful as its rulers claim. In contrast, the world of The Conjurer is noisy. Animal sounds provide not only a soundtrack to the action, but help readers understand the feelings of the main characters and add meaning to important events. So, despite their similarities, the soundscapes of these two novels and especially their animal sounds (or lack thereof) give each of them their own special atmosphere.