British Poet Laureate Carol Ann Duffy is part of a tradition of feminist writers setting out to make readers hear the unheard stories and voices of unknown historical female figures. This article examines some of Duffy’s dramatic monologues and attempts to show that the voices constructed in the poems are not plainly monologic, often including as they do a secondary lyric presence questioning the identity constructed by the fictional speech. Using Rancière’s concept of a process of subjectivization, I try to show that Duffy creates an in-between space for a fictional voice and a lyric presence to interact. Rather than speaking for she speaks with, thereby trying to remain ethically faithful to a premise of third-wave feminism. Some of her monologues also exploit their relationship with off-the-page media, further pluralizing the poems’ voices. Her dramatic monologues therefore open the possibility of a community of experience. The article finally suggests that the political in these monologues does not only lie in their satirical and feminist content but in the fact that Duffy’s exploration of the possibilities of poetic voice within the dramatic monologue allows for a dissent from the very notion of identity while providing a poetic space for political subjectivization.