On a Sunday night during Homecoming weekend in 1999, Neenef Odah lured his ex-girlfriend, Maggie Wardle, to his dorm room at Kalamazoo College and killed her at close range with a shotgun before killing himself. In the wake of this tragedy, the community of the small, idyllic liberal arts college struggled to characterize the incident, which was even called “the events of October” in a campus memo. In this engaging and intimate examination of Maggie and Neenef’s deaths, author and Kalamazoo College professor Gail Griffin attempts to answer the lingering question of “how could this happen?” to two seemingly normal students on such a close-knit campus. Griffin introduces readers to Maggie and Neenef—a bright and athletic local girl and the quiet Iraqi-American computer student—and retraces their relationship from multiple perspectives, including those of their friends, teachers, and classmates. She examines the tension that built between Maggie and Neenef as his demands for more of her time and emotional support grew, eventually leading to their breakup. After the deaths take place, Griffin presents multiple reactions, including those of Maggie’s friends who were waiting for her to return from Neenef’s room, the students who heard the shotgun blasts in the hallway of Neenef’s dorm, the president who struggled to guide a grieving campus, and the facilities manager in charge of cleaning up the crime scene. Griffin also uses Maggie and Neenef’s story to explore larger issues of intimate partner violence, gun accessibility, and depression and suicide on campus as she attempts to understand the lasting importance of their tragic deaths. Griffin’s use of source material, including college documents, official police reports, Neenef’s suicide note, and an instant message record between perpetrator and victim, puts a very real face on issues of violence against women. Readers interested in true crime, gender studies, and the culture of colleges and universities will appreciate “The Events of October.”

Gail Griffin had only been married for four months when her husband's body was found in the Manistee River, just a few yards from their cabin door. The terrain of memoir is full of stories of grief, though Grief's Country: A Memoir in Pieces is less concerned with the biography of a love affair than with the lived phenomenon of grief itself-what it does to the mind, heart, and body; how it functions almost as an organism. The book's intimacy is at times nearly disarming; its honesty about struggling through grief's country is unfailing. The story is told "in pieces" in that it is ten essays of varying forms, punctuated by four original poems, that examine facets of traumatic grief, memory, and survival. While a reader will perceive a forward trajectory, the book resists anything like a clear chronology, offering a picture of deep grief as something that defies the linear and explodes time. "A Strong Brown God" tells the story of two of Griffin's significant relationships-with her husband, Bob, and with the Manistee River-and includes the history of what drew them all together. "Grief's Country" follows Griffin from the morning after Bob's death through the first disoriented, fractured months of PTSD. "Heartbreak Hotel" takes Griffin on a tragicomical flight the first Christmas after Bob's death to a Jamaican resort-which includes an unscheduled stop at Graceland-where she contemplates the notions of home and haven. Grief's Country will speak directly to anyone who has lost a dearly loved one, offering not one story but ten different faces of grief to contemplate. It will also appeal to general readers of memoir, including teachers and students of nonfiction, especially as it includes a variety of formal models. Those interested in the subject area of death and dying will find it useful as a book that bypasses recovery narratives, truisms, and "stages of grief" to get as close as possible to the experience itself.

On a Sunday night during Homecoming weekend in 1999, Neenef Odah lured his ex-girlfriend, Maggie Wardle, to his dorm room at Kalamazoo College and killed her at close range with a shotgun before killing himself. In the wake of this tragedy, the community of the small, idyllic liberal arts college struggled to characterize the incident, which was even called “the events of October” in a campus memo. In this engaging and intimate examination of Maggie and Neenef’s deaths, author and Kalamazoo College professor Gail Griffin attempts to answer the lingering question of “how could this happen?” to two seemingly normal students on such a close-knit campus. Griffin introduces readers to Maggie and Neenef—a bright and athletic local girl and the quiet Iraqi-American computer student—and retraces their relationship from multiple perspectives, including those of their friends, teachers, and classmates. She examines the tension that built between Maggie and Neenef as his demands for more of her time and emotional support grew, eventually leading to their breakup. After the deaths take place, Griffin presents multiple reactions, including those of Maggie’s friends who were waiting for her to return from Neenef’s room, the students who heard the shotgun blasts in the hallway of Neenef’s dorm, the president who struggled to guide a grieving campus, and the facilities manager in charge of cleaning up the crime scene. Griffin also uses Maggie and Neenef’s story to explore larger issues of intimate partner violence, gun accessibility, and depression and suicide on campus as she attempts to understand the lasting importance of their tragic deaths. Griffin’s use of source material, including college documents, official police reports, Neenef’s suicide note, and an instant message record between perpetrator and victim, puts a very real face on issues of violence against women. Readers interested in true crime, gender studies, and the culture of colleges and universities will appreciate “The Events of October.”

Gail Griffin had only been married for four months when her husband's body was found in the Manistee River, just a few yards from their cabin door. The terrain of memoir is full of stories of grief, though Grief's Country: A Memoir in Pieces is less concerned with the biography of a love affair than with the lived phenomenon of grief itself-what it does to the mind, heart, and body; how it functions almost as an organism. The book's intimacy is at times nearly disarming; its honesty about struggling through grief's country is unfailing. The story is told "in pieces" in that it is ten essays of varying forms, punctuated by four original poems, that examine facets of traumatic grief, memory, and survival. While a reader will perceive a forward trajectory, the book resists anything like a clear chronology, offering a picture of deep grief as something that defies the linear and explodes time. "A Strong Brown God" tells the story of two of Griffin's significant relationships-with her husband, Bob, and with the Manistee River-and includes the history of what drew them all together. "Grief's Country" follows Griffin from the morning after Bob's death through the first disoriented, fractured months of PTSD. "Heartbreak Hotel" takes Griffin on a tragicomical flight the first Christmas after Bob's death to a Jamaican resort-which includes an unscheduled stop at Graceland-where she contemplates the notions of home and haven. Grief's Country will speak directly to anyone who has lost a dearly loved one, offering not one story but ten different faces of grief to contemplate. It will also appeal to general readers of memoir, including teachers and students of nonfiction, especially as it includes a variety of formal models. Those interested in the subject area of death and dying will find it useful as a book that bypasses recovery narratives, truisms, and "stages of grief" to get as close as possible to the experience itself.