Elizabeth Evans traces the complex and often painful threads of human relationships in Suicide's Girlfriend, her most inspired work to date. In these richly textured stories, you'll meet:
Oyekan, a confused young Nigerian student who wrestles with feelings his U.S. friends cannot understand.
Marie, an adolescent who makes a carefully philosophized, end-of-the-rope stab at salvation for herself and her seven abused siblings.
Jenny and Heather, two girls whose friendship has suffered from the distractions of adolescence and the cruelty of one moving on while the other must sit idly by and watch.
A group of college boys, whose discovery of a dead body on the side of the road leaves one of them changed in ways he never thought possible.
Elegant, acute, and engaging, Suicide's Girlfriend will introduce you to these characters and more, their stories, and an incredible new voice in fiction.
Elizabeth Evans was born, raised, and educated in Iowa. She attended Cornell College and the University of Iowa, where she received a Master of Fine Arts degree at the Iowa Writers' Workshop.
Evans is the author of six books of fiction: As Good As Dead (March 2015), Rowing in Eden, Carter Clay, which was selected by the Los Angeles Times Book Review for the Best Books of 1999, and The Blue Hour, which the Washington Post Book World called "very much a Great American Novel." Her two short story collections are Suicide's Girlfriend and Locomotion. Recent stories appear in the journals Ploughshares and Cutthroat, and the collection xo Orpheus: Fifty New Myths.
Evans is Professor Emeritus for the Program in Creative Writing at the University of Arizona, and frequently teaches for Queens University of Charlotte's Low-residence MFA Program in Creative Writing. She makes her home in Tucson, Arizona.
a friend brought me this book a few years ago and i was surprised to find the title story was based on someone i know. really closely. i know, but still- odd. the thing is this author, someone i never would have read but that she fell, quite literally, into my lap, does this great thing. she puts a suicide in a story but doesn't make the story about it. it's what generates all that happens but it's not what's really important. she goes other places, explores all the small things. something about her reminds me of raymond carver. maybe her ability to look at something big and scoot it out of the way, over to the edge, in favor of scrutinizing something smaller but maybe more beautiful.