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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In Missouri … good God, I really didn’t know. It only occurred to me just then. You truly are an asshole , I thought. Two years we’d been here, and after the initial flurry of meet-and-greets, those manic first months, Amy had no one she regularly saw. She had my mom, who was now dead, and me—and our main form of conversation was attack and rebuttal. When we’d been back home for a year, I’d asked her faux gallantly: “And how are you liking North Carthage, Mrs. Dunne?”

New Carthage, you mean?” she’d replied. I refused to ask her the reference, but I knew it was an insult.

“She has a few good friends, but they’re mostly back east.”

“Her folks?”

“They live in New York. City.”

“And you still haven’t called any of these people?” Boney asked, a bemused smile on her face.

“I’ve been doing everything else you’ve been asking me to do. I haven’t had a chance.” I’d signed away permission to trace credit cards and ATMs and track Amy’s cell phone, I’d handed over Go’s cell number and the name of Sue, the widow at The Bar, who could presumably attest to the time I arrived.

“Baby of the family.” She shook her head. “You really do remind me of my little brother.” A beat. “That’s a compliment, I swear.”

“She dotes on him,” Gilpin said, scribbling in a notebook. “Okay, so you left the house at about seven-thirty A.M., and you showed up at The Bar at about noon, and in between, you were at the beach.”

There’s a beachhead about ten miles north of our house, a not overly pleasant collection of sand and silt and beer-bottle shards. Trash barrels overflowing with Styrofoam cups and dirty diapers. But there is a picnic table upwind that gets nice sun, and if you stare directly at the river, you can ignore the other crap.

“I sometimes bring my coffee and the paper and just sit. Gotta make the most of summer.”

No, I hadn’t talked to anyone at the beach. No, no one saw me.

“It’s a quiet place midweek,” Gilpin allowed.

If the police talked to anyone who knew me, they’d quickly learn that I rarely went to the beach and that I never sometimes brought my coffee to just enjoy the morning. I have Irish-white skin and an impatience for navel-gazing: A beach boy I am not. I told the police that because it had been Amy’s idea, for me to go sit in the spot where I could be alone and watch the river I loved and ponder our life together. She’d said this to me this morning, after we’d eaten her crepes. She leaned forward on the table and said, “I know we are having a tough time. I still love you so much, Nick, and I know I have a lot of things to work on. I want to be a good wife to you, and I want you to be my husband and be happy. But you need to decide what you want.”

She’d clearly been practicing the speech; she smiled proudly as she said it. And even as my wife was offering me this kindness, I was thinking, Of course she has to stage-manage this. She wants the image of me and the wild running river, my hair ruffling in the breeze as I look out onto the horizon and ponder our life together. I can’t just go to Dunkin’ Donuts .

You need to decide what you want . Unfortunately for Amy, I had decided already.

Boney looked up brightly from her notes: “Can you tell me what your wife’s blood type is?” she asked.

“Uh, no, I don’t know.”

“You don’t know your wife’s blood type?”

“Maybe O?” I guessed.

Boney frowned, then made a drawn-out yoga-like sound. “Okay, Nick, here are the things we are doing to help.” She listed them: Amy’s cell was being monitored, her photo circulated, her credit cards tracked. Known sex offenders in the area were being interviewed. Our sparse neighborhood was being canvassed. Our home phone was tapped, in case any ransom calls came in.

I wasn’t sure what to say now. I raked my memory for the lines: What does the husband say at this point in the movie? Depends on whether he’s guilty or innocent.

“I can’t say that reassures me. Are you—is this an abduction, or a missing persons case, or what exactly is going on?” I knew the statistics, knew them from the same TV show I was starring in: If the first forty-eight hours didn’t turn up something in a case, it was likely to go unsolved. The first forty-eight hours were crucial. “I mean, my wife is gone. My wife is gone !” I realized it was the first time I’d said it the way it should have been said: panicked and angry. My dad was a man of infinite varieties of bitterness, rage, distaste. In my lifelong struggle to avoid becoming him, I’d developed an inability to demonstrate much negative emotion at all. It was another thing that made me seem like a dick—my stomach could be all oiled eels, and you would get nothing from my face and less from my words. It was a constant problem: too much control or no control at all.

“Nick, we are taking this extremely seriously,” Boney said. “The lab guys are over at your place as we speak, and that will give us more information to go on. Right now, the more you can tell us about your wife, the better. What is she like?”

The usual husband phrases came into my mind: She’s sweet, she’s great, she’s nice, she’s supportive .

“What is she like how ?” I asked.

“Give me an idea of her personality,” Boney prompted. “Like, what did you get her for your anniversary? Jewelry?”

“I hadn’t gotten anything quite yet,” I said. “I was going to do it this afternoon.” I waited for her to laugh and say “baby of the family” again, but she didn’t.

“Okay. Well, then, tell me about her. Is she outgoing? Is she—I don’t know how to say this—is she New Yorky? Like what might come off to some as rude? Might rub people the wrong way?”

“I don’t know. She’s not a never-met-a-stranger kind of person, but she’s not—not abrasive enough to make someone … hurt her.”

This was my eleventh lie. The Amy of today was abrasive enough to want to hurt, sometimes. I speak specifically of the Amy of today, who was only remotely like the woman I fell in love with. It had been an awful fairy-tale reverse transformation. Over just a few years, the old Amy, the girl of the big laugh and the easy ways, literally shed herself, a pile of skin and soul on the floor, and out stepped this new, brittle, bitter Amy. My wife was no longer my wife but a razor-wire knot daring me to unloop her, and I was not up to the job with my thick, numb, nervous fingers. Country fingers. Flyover fingers untrained in the intricate, dangerous work of solving Amy . When I’d hold up the bloody stumps, she’d sigh and turn to her secret mental notebook on which she tallied all my deficiencies, forever noting disappointments, frailties, shortcomings. My old Amy, damn, she was fun. She was funny. She made me laugh. I’d forgotten that. And she laughed. From the bottom of her throat, from right behind that small finger-shaped hollow, which is the best place to laugh from. She released her grievances like handfuls of birdseed: They are there, and they are gone.

She was not the thing she became, the thing I feared most: an angry woman. I was not good with angry women. They brought something out in me that was unsavory.

“She bossy?” Gilpin asked. “Take-charge?”

I thought of Amy’s calendar, the one that went three years into the future, and if you looked a year ahead, you would actually find appointments: dermatologist, dentist, vet. “She’s a planner—she doesn’t, you know, wing anything. She likes to make lists and check things off. Get things done. That’s why this doesn’t make sense—”

“That can drive you crazy,” Boney said sympathetically. “If you’re not that type. You seem very B-personality.”

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