Taking as my theoretical point of departure Mikhail Bakhtin’s concept of heteroglossia and Friedrich Nietzsche’s notion of culture as a battleground of conflicting opposites, I argue that there is a conflict of voice at the centre of Nathaniel Hawthorne’s The Blithedale Romance. To be more precise, the text foregrounds a power struggle between the voice of the feminist performer Zenobia and the voice of the first-person narrator Miles Coverdale. Coverdale’s narrative is motivated by his wish – and failure – to read Zenobia, who defines herself by virtue of her perpetual performance. Disturbed by the fact that Zenobia has a position of her own, Coverdale seeks to contain her powerful voice, which continues to haunt him twelve years after her death. In my paper I trace how the conflict of voice between the dead performer and the haunted narrator is inscribed textually as well as the ways in which this highlights a cultural conflict over the woman’s voice.