Danielle Pafunda abolishes the stereotype of prissy, dainty girls in her thrilling poetry collection The Dead Girls Speak in Unison. Set in a surrealistic underworld, takes on the collective voice of empowered female corpses and ironically uses quaint language and structure to describe the true nature of women. […] Pafunda’s collection leaves readers craving more of its ‘rotten pages.’ ‘If you’re looking for something pretty, ’ don’t look here. –Verse, Brittany Capps - We don’t often see choral speakers, but speaking in unison gives these ‘girls’ collective presence, forcing us to face gender violence. [T]he girls gain a certain power in this…raw girls who bypass maturity, who are as rank and offensive as possible. These unrefined girls are deeply unsettling. –The Plot, Heidi Czerwiec - Danielle Pafunda is the author of The Dead Girls Speak in Unison (Bloof Books, 2017), Natural History Rape Museum (Bloof Books, 2013), Manhater (Dusie Press, 2012), Iatrogenic: Their Testimonies (Noemi Press, 2010), My Zorba (Bloof Books, 2008), Pretty Young Thing (Soft Skull Press, 2005), and the chapbooks Cram (Essay Press, 2015) and When You Left Me in the Rutted Terrain of Our Love at the Border, Which I Could Not Cross, Remaining a Citizen of this Corrupt Land (Birds of Lace, 2014). Her poems have appeared in three editions of The Best American Poetry and have been anthologized in Beauty is a Verb: The Poetics of Disability (Cinco Puntos Press, 2011), Gurlesque: The New Grrly, Grotesque, Burlesque Poetics (Saturnalia Books, 2010), Not for Mothers Only: Contemporary Poems on Child-Getting & Child Rearing (Fence Books, 2007), Hick Poetics (Lost Roads Press, 2015) and Please Excuse This Poem: 100 Poets for the Next Generation (Penguin, 2015).