In her collection of poems Lines of Sight (2009), the British poet Frances Presley features a section called “Female Figures,” which draws our attention to the scarcity of female monuments in urban spaces, an issue that has become increasingly relevant over the past decade in different parts of the world (Weston 2021; Rozas-Krause and Shanken 2024). As a way to counterbalance this invisibility, the author responds to the statues of three prominent historical women: Julian of Norwich, Queen Anne, and Margaret Thatcher. The manner in which Presley addresses these statues reveals the paradoxical yet inextricable connection that exists between remembering and forgetting, between the act of public commemoration and the development of collective amnesia. Drawing on the insights provided by authors such as James E. Young (1993), John R. Gillis (1994), Guy Rotella (2004), and Sara Gensburger and Jenny Wüstenberg (2023), among others, this chapter examines how Presley’s poetry depicts a view of memory sites as malleable entities that are subject to the constant reinterpretations of viewers. On the one hand, the fact that Presley depicts the statues of Queen Anne and Julian of Norwich as fading into their own spatial background may be interpreted as a visual indication that the women behind these monuments have fallen into collective oblivion. Even though the poet endows these statues with agency because it is through their eyes that the reader bears witness to the space that they inhabit, this only serves to further emphasize their position as viewers, but never as viewed, and thus remembered, objects. By contrast, the way Presley confronts Margaret Thatcher’s statues and visually illustrates the “de-commemoration” (Gensburger and Wüstenberg 2023) of the politician in her poem—affecting the marble sculpture that is located at Guildhall Art Gallery and which was decapitated in 2002—suggests not only that Thatcher remains significantly present in the British national memory, but that space is capable of embodying conflicting discourses. Ultimately, in commemorating these statues, Presley demonstrates the value of her poetry as a legitimate memory site, one that effectively represents the unfixed nature of space and collective memory.