Gillian Flynn - Gone Girl:

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Gone Girl:: краткое содержание, описание и аннотация

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Marriage can be a real killer. One of the most critically acclaimed suspense writers of our time, *New York Times* bestseller Gillian Flynn takes that statement to its darkest place in this unputdownable masterpiece about a marriage gone terribly, terribly wrong. The *Chicago Tribune* proclaimed that her work “draws you in and keeps you reading with the force of a pure but nasty addiction.” *Gone Girl* ’s toxic mix of sharp-edged wit and deliciously chilling prose creates a nerve-fraying thriller that confounds you at every turn. On a warm summer morning in North Carthage, Missouri, it is Nick and Amy Dunne’s fifth wedding anniversary. Presents are being wrapped and reservations are being made when Nick’s clever and beautiful wife disappears from their rented McMansion on the Mississippi River. Husband-of-the-Year Nick isn’t doing himself any favors with cringe-worthy daydreams about the slope and shape of his wife’s head, but passages from Amy's diary reveal the alpha-girl perfectionist could have put anyone dangerously on edge **.** Under mounting pressure from the police and the media—as well as Amy’s fiercely doting parents—the town golden boy parades an endless series of lies, deceits, and inappropriate behavior. Nick is oddly evasive, and he’s definitely bitter—but is he really a killer? As the cops close in, every couple in town is soon wondering how well they know the one that they love. With his twin sister, Margo, at his side, Nick stands by his innocence. Trouble is, if Nick didn’t do it, where is that beautiful wife? And what was in that silvery gift box hidden in the back of her bedroom closet? With her razor-sharp writing and trademark psychological insight, Gillian Flynn delivers a fast-paced, devilishly dark, and ingeniously plotted thriller that confirms her status as one of the hottest writers around. ### Amazon.com Review Amazon Best Books of the Month, June 2012: On their fifth wedding anniversary, Nick’s wife Amy disappears. There are signs of struggle in the house, and Nick quickly becomes the prime suspect. It doesn’t help that Nick hasn’t been completely honest with the police, and, as Amy’s case drags out for weeks, more and more vilifying evidence appears against him--but Nick maintains his innocence. Alternating points of view between Nick and Amy, Gillian Flynn creates an untrustworthy world that changes from chapter to chapter. Calling *Gone Girl* a psychological thriller is an understatement. As revelation after revelation unfolds, it becomes clear that the truth does not exist in the middle of Nick and Amy’s points of view; it is far darker, more twisted, and creepier than you can imagine. *Gone Girl* is masterfully plotted, and the suspense doesn’t waver for a single page. It’s one of those books you will feel the need to discuss as soon as you finish it, because the ending doesn’t just come--it punches you in the gut. -- *Caley Anderson* #### From Author Gillian Flynn You might say I specialize in difficult characters. Damaged, disturbed, or downright nasty. Personally, I love each and every one of the misfits, losers, and outcasts in my three novels. My supporting characters are meth tweakers, truck-stop strippers, backwoods grifters ... But it's my narrators who are the real challenge. In *Sharp Objects,* Camille Preaker is a mediocre journalist fresh from a stay at a psychiatric hospital. She's an alcoholic. She's got impulse issues. She's also incredibly lonely. Her best friend is her boss. When she returns to her hometown to investigate a child murder, she parks down the street from her mother's house "so as to seem less obtrusive." She has no sense of whom to trust, and this leads to disaster. Camille is cut off from the world but would rather not be. In *Dark Places,* narrator Libby Day is aggressively lonely. She cultivates her isolation. She lives off a trust fund established for her as a child when her family was massacred; she isn't particularly grateful for it. She's a liar, a manipulator, a kleptomaniac. "I have a meanness inside me, real as an organ," she warns. "Draw a picture of my soul and it'd be a scribble with fangs." If Camille is overly grateful when people want to befriend her, Libby's first instinct is to kick them in their shins. In those first two novels, I explored the geography of loneliness--and the devastation it can lead to. With *Gone Girl,* I wanted to go the opposite direction: what happens when two people intertwine their lives completely.I wanted to explore the geography of intimacy--and the devastation it can lead to. Marriage gone toxic. *Gone Girl* opens on the occasion of Amy and Nick Dunne's fifth wedding anniversary. (How romantic.) Amy disappears under very disturbing circumstances. (Less romantic.) Nick and Amy Dunne were the golden couple when they first began their courtship. Soul mates. They could complete each other's sentences, guess each other's reactions. They could push each other's buttons. They are smart, charming, gorgeous, and also narcissistic, selfish, and cruel. They complete each other--in a very dangerous way. ### Review "Ice-pick-sharp... Spectacularly sneaky... Impressively cagey... "Gone Girl" is Ms. Flynn's dazzling breakthrough. It is wily, mercurial, subtly layered and populated by characters so well imagined that they're hard to part with -- even if, as in Amy's case, they are already departed. And if you have any doubts about whether Ms. Flynn measures up to Patricia Highsmith's level of discreet malice, go back and look at the small details. Whatever you raced past on a first reading will look completely different the second time around." --Janet Maslin, "New York Times ""An ingenious and viperish thriller... It's going to make Gillian Flynn a star... The first half of "Gone Girl" is a nimble, caustic riff on our Nancy Grace culture and the way in which ''The butler did it'' has morphed into ''The husband did it.'' The second half is the real stunner, though. Now I really am going to shut up before I spoil what instantly shifts into a great, breathless read. Even as "Gone Girl" grows truly twisted and wild, it says smart things about how tenuous power relations are between men and women, and how often couples are at the mercy of forces beyond their control. As if that weren't enough, Flynn has created a genuinely creepy villain you don't see coming. People love to talk about the banality of evil. You're about to meet a maniac you could fall in love with. A" "--"Jeff Giles, "Entertainment Weekly " "An irresistible summer thriller with a twisting plot worthy of Alfred Hitchcock. Burrowing deep into the murkiest corners of the human psyche, this delectable summer read will give you the creeps and keep you on edge until the last page." "--People" (four stars) "[A] thoroughbred thriller about the nature of identity and the terrible secrets that can survive and thrive in even the most intimate relationships. "Gone Girl" begins as a whodunit, but by the end it will have you wondering whether there's any such thing as a who at all." "--"Lev Grossman, "Time"

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I started on the opening page of my own book.

I am a cheating, weak-spined, woman-fearing coward, and I am the hero of your story. Because the woman I cheated on—my wife, Amy Elliott Dunne—is a sociopath and a murderer .

Yes. I’d read that.

AMY ELLIOTT DUNNE

TEN WEEKS AFTER THE RETURN

Nick still pretends with me. We pretend together that we are happy and carefree and in love. But I hear him clicking away late at night on the computer. Writing. Writing his side, I know it. I know it, I can tell by the feverish outpouring of words, the keys clicking and clacking like a million insects. I try to hack in when he’s asleep (although he sleeps like me now, fussy and anxious, and I sleep like him). But he’s learned his lesson, that he’s no longer beloved Nicky, safe from wrong—he no longer uses his birthday or his mom’s birthday or Bleecker’s birthday as a password. I can’t get in.

Still, I hear him typing, rapidly and without pause, and I can picture him hunched over the keyboard, his shoulders up, his tongue clamped between his teeth, and I know that I was right to protect myself. To take my precaution.

Because he isn’t writing a love story.

NICK DUNNE

TWENTY WEEKS AFTER THE RETURN

I didn’t move out. I wanted this all to be a surprise to my wife, who is never surprised. I wanted to give her the manuscript as I walked out the door to land a book deal. Let her feel that trickling horror of knowing the world is about to tilt and dump its shit all over you, and you can’t do anything about it. No, she may never go to prison, and it will always be my word against hers, but my case was convincing. It had an emotional resonance, if not a legal one.

So let everyone take sides. Team Nick, Team Amy. Turn it into even more of a game: Sell some fucking T-shirts.

My legs were weak when I went to tell Amy: I was no longer part of her story.

I showed her the manuscript, displayed the glaring title: Psycho Bitch . A little inside joke. We both like our inside jokes. I waited for her to scratch my cheeks, rip my clothes, bite me.

“Oh! What perfect timing,” she said cheerfully, and gave me a big grin. “Can I show you something?”

I made her do it again in front of me. Piss on the stick, me squatting next to her on the bathroom floor, watching the urine come out of her and hitting the stick and turning it pregnant-blue.

Then I hustled her into the car and drove to the doctor’s office, and I watched the blood come out of her—because she isn’t really afraid of blood—and we waited the two hours for the test to come back.

Amy was pregnant.

“It’s obviously not mine,” I said.

“Oh, it is.” She smiled back. She tried to snuggle into my arms. “Congratulations, Dad.”

“Amy—” I began, because of course it wasn’t true, I hadn’t touched my wife since her return. Then I saw it: the box of tissues, the vinyl recliner, the TV and porn, and my semen in a hospital freezer somewhere. I’d left that will-destroy notice on the table, a limp guilt trip, and then the notice disappeared, because my wife had taken action, as always, and that action wasn’t to get rid of the stuff but to save it. Just in case.

I felt a giant bubble of joy—I couldn’t help it—and then the joy was encased in a metallic terror.

“I’ll need to do a few things for my security, Nick,” she said. “Just because, I have to say, it’s almost impossible to trust you. To start, you’ll have to delete your book, obviously. And just to put that other matter to rest, we’ll need an affidavit, and you’ll need to swear that it was you who bought the stuff in the woodshed and hid the stuff in the woodshed, and that you did once think I was framing you, but now you love me and I love you and everything is good.”

“What if I refuse?”

She put her hand on her small, swollen belly and frowned. “I think that would be awful.”

We had spent years battling for control of our marriage, of our love story, our life story. I had been thoroughly, finally outplayed. I created a manuscript, and she created a life.

I could fight for custody, but I already knew I’d lose. Amy would relish the battle—God knew what she already had lined up. By the time she was done, I wouldn’t even be an every-other-weekend dad; I would interact with my child in strange rooms with a guardian nearby sipping coffee, watching me. Or maybe not even that. I could suddenly see the accusations—of molestation or abuse—and I would never see my baby, and I would know that my child was tucked away far from me, Mother whispering, whispering lies into that tiny pink ear.

“It’s a boy, by the way,” she said.

I was a prisoner after all. Amy had me forever, or as long as she wanted, because I needed to save my son, to try to unhook, unlatch, debarb, undo everything that Amy did. I would literally lay down my life for my child, and do it happily. I would raise my son to be a good man.

I deleted my story.

Boney picked up on the first ring.

“Pancake House? Twenty minutes?” she said.

“No.”

I informed Rhonda Boney that I was going to be a father and so could no longer assist in any investigation—that I was, in fact, planning to retract any statement I’d made concerning my misplaced belief that my wife had framed me, and I was also ready to admit my role in the credit cards.

A long pause on the line. “Hunh,” she said. “Hunh.”

I could picture Boney running her hand through her slack hair, chewing on the inside of her cheek.

“You take care of yourself, okay, Nick?” she said finally. “Take good care of the little one too.” Then she laughed. “Amy I don’t really give a fuck about.”

I went to Go’s house to tell her in person. I tried to frame it as happy news. A baby, you can’t be that upset about a baby. You can hate a situation, but you can’t hate a child.

I thought Go was going to hit me. She stood so close I could feel her breath. She jabbed me with an index finger.

“You just want an excuse to stay,” she whispered. “You two, you’re fucking addicted to each other. You are literally going to be a nuclear family, you do know that? You will explode. You will fucking detonate. You really think you can possibly do this for, what, the next eighteen years? You don’t think she’ll kill you?”

“Not as long as I am the man she married. I wasn’t for a while, but I can be.”

“You don’t think you’ll kill her ? You want to turn into Dad?”

“Don’t you see, Go? This is my guarantee not to turn into Dad. I’ll have to be the best husband and father in the world.”

Go burst into tears then—the first time I’d seen her cry since she was a child. She sat down on the floor, straight down, as if her legs gave out. I sat down beside her and leaned my head against hers. She finally swallowed her last sob and looked at me. “Remember when I said, Nick, I said I’d still love you if ? I’d love you no matter what came after the if ?”

“Yes.”

“Well, I still love you. But this breaks my heart.” She let out an awful sob, a child’s sob. “Things weren’t supposed to turn out this way.”

“It’s a strange twist,” I said, trying to turn it light.

“She won’t try to keep us apart, will she?”

“No,” I said. “Remember, she’s pretending to be someone better too.”

Yes, I am finally a match for Amy. The other morning I woke up next to her, and I studied the back of her skull. I tried to read her thoughts. For once I didn’t feel like I was staring into the sun. I’m rising to my wife’s level of madness. Because I can feel her changing me again: I was a callow boy, and then a man, good and bad. Now at last I’m the hero. I am the one to root for in the never-ending war story of our marriage. It’s a story I can live with. Hell, at this point, I can’t imagine my story without Amy. She is my forever antagonist.

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