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Colonial landscapes permeate the English imagination of the nineteenth century, and our gaze has been fixed on them. There is much more to the Victorian world, however, than meets the eye. The Victorians were immersed in sound, and colonial landscapes were also soundscapes. Elizabeth Gaskell's Mary Barton (1848) ends with Mary looking out over a pristine Canadian landscape from which sound is conspicuously absent. I propose that we reread novels like Gaskell's through the soundscapes of Tanya Tagaq's Split Tooth (2018). The unrepresented soundscapes of Tagaq's narrative refigure sound as form, and, through her text, we are invited to listen differently. Only by hearing the sounds of Victorian novels can we begin to reimagine relations that stem from colonial encounters depicted in their many silences.