This thesis examines Patti Smith’s Just Kids as a radical intervention into memoir’s reliance on singular authorship, arguing that Smith constructs an intersubjective authorial voice grounded in ethical relationality. While Smith’s public persona is often read through the lens of punk individualism, this project demonstrates that Just Kids reimagines voice not as self-assertion but as collaborative formation. Drawing on feminist theory by Luce Irigaray, Carolyn Burke, and Denise Riley alongside scholarship on autotheory and life writing, this thesis theorizes Smith’s memoiric practice as a feminist poetics that exceeds the autobiographical “I.” Smith’s voice emerges through relation—with Robert Mapplethorpe, artistic communities, visual artifacts, and shared labor—producing what is termed a third, intersubjective voice that unsettles the boundaries between autobiography and biography. In contrast to avant-garde contemporaries such as Alice Notley who insist on the primacy of singular voice, Smith reconceives collectivity as a generative aesthetic force. The project also intervenes in critical debates that moralize Smith’s independence as egoistic, reframing her formal strategies as deliberate ethical acts. Ultimately, this thesis positions Just Kids as a feminist reconfiguration of memoir that challenges phallogocentric models of authorship by imagining voice as porous, plural, and co-created, capable of sustaining artistic kinship even after death.