Lars Gustafsson’s The American Girl’s Sundays (2006) is a welcome change to tales based in true crime, which often focus on the predominantly male murderer or serial killer instead of on the predominantly female victim. The verse novel is also part of a larger countertrend resisting the hype accompanying killers, meanwhile paying little to no attention to the victim and what her life was and could have been. Gustafsson’s narrative, inspired by the murder of Colleen Reed in 1999, is narrated by the fictionalised victim herself. This article explores how the interweaving of Gustafssonian elements affects the narrative voice.