We could call this an A7add11 arpeggio. (Or, more accurately, the notes from an A7add11 chord.)
Although this is still a set of five pitches, it is no longer a pentatonic scale in the traditional sense; one feature of the related diatonic major and minor pentatonic scales, which are in common usage, is that they do not contain any semitone intervals. (There is some information about the difference between pentatonic scales with and without semitone intervals here.)
In fact, as pentatonic scales have only five notes, they can often be thought of as being mid-way between common arpeggios (eg. major and minor triads which have three notes) and common scales (eg. diatonic modes and harmonic/melodic minor scales which have seven notes). For this reason, the simplest way to describe the notes you present here (A C# D E G) is as an A7 chord with an added D. We could call this an A7add11 chord (not a suspension, as there is also the third, C#, and not an add4 as the inclusion of a third implies that the D is interpreted as an 11th, using tertian harmony). And, when considering these notes 'as a scale' (i.e. one at a time) you are simply considering them as an arpeggiated chord, rather than as a chord where all the pitches are played simultaneously.
Of course, this is somewhat unreliable; depending upon which note you choose to consider to be the root, you could interpret this to be a number of different chords, although in this case four of the notes outline an A7 chord, so this seems preferable. Sometimes though, sets of pitches don't seem to be so easy to describe in terms of traditional harmony. At this point Pitch Class Set Theory can help. This allows a rigorous way to describe any set of pitches. Putting your pitches into this PC Set Calculator returns the PC Set 5-29. Then, looking up PC Set 5-29 on this table we can see that your pitches can be described as a Kumoi Pentachord (and no, I'd never heard of one either…!)