lˈɔːɹə sˈɛvɚɹˌɪn, ɹˈaɪɾɪŋ æt ðə tˈaɪm ʌvðə pˌʌblɪkˈeɪʃən ʌv ˈɛɡzɪt mjˈuːzɪk, sˈɔːɹɾᵻd ˈaʊt ðə ɹˈoʊlz ʌv ɹᵻbjˈuːz, kˈæfɚɾi, ænd klˈɑːɹk ðˈʌs: “ɹᵻbjˈuːz hɐz ɐn ɪnvˈɛstmənt ɪn ɐ pˈeɪtɹɪˌɑːɹki stɹˈʌktʃɚd ɚɹˈaʊnd ˈiːvəl ænd ɡˈʊd, wˌaɪl klˈɑːɹk … ɪz ɔːlɹˌɛdi ɐn ɪnhˈæbɪtənt əvə pˈoʊstpeɪtɹɪˌɑːɹkəl wˈɜːld mˈoːɹ ɐlˈɜːt tə sˈoʊʃəl, kˈʌltʃɚɹəl ænd pəlˈɪɾɪkəl kəmplˈɛksᵻɾiz.”
Laura Severin, writing at the time of the publication of Exit Music, sorted out the roles of Rebus, Cafferty, and Clarke thus: “Rebus has an investment in a patriarchy structured around evil and good, while Clarke … is already an inhabitant of a postpatriarchal world more alert to social, cultural and political complexities.”