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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We’ve discussed having our husbands drop by to join us for the drinks portion. So there we are, post-dinner, tucked into our nook, mojitos and martinis and my bourbon delivered to us by a waitress who could be auditioning for the small role of Fresh-faced Girl Just Off the Bus.

We are running out of things to say; it is a Tuesday, and no one is feeling like it is anything but. The drinks are being carefully drunk: Insley and Campbell both have vague appointments the next morning, and I have work, so we aren’t gearing up for a big night, we are winding down, and we are getting dull-witted, bored. We would leave if we weren’t waiting for the possible appearance of the men. Campbell keeps peeking at her BlackBerry, Insley studies her flexed calves from different angles. John arrives first—huge apologies to Campbell, big smiles and kisses for us all, a man just thrilled to be here, just delighted to arrive at the tail-end of a cocktail hour across town so he can guzzle a drink and head home with his wife. George shows up about twenty minutes later—sheepish, tense, a terse excuse about work, Insley snapping at him, “You’re forty minutes late,” him nipping back, “Yeah, sorry about making us money.” The two barely talking to each other as they make conversation with everyone else.

Nick never shows; no call. We wait another forty-five minutes, Campbell solicitous (“Probably got hit with some last-minute deadline,” she says, and smiles toward good old John, who never lets last-minute deadlines interfere with his wife’s plans); Insley’s anger thawing toward her husband as she realizes he is only the second-biggest jackass of the group (“You sure he hasn’t even texted, sweetie?”).

Me, I just smile: “Who knows where he is—I’ll catch him at home.” And then it is the men of the group who look stricken: You mean that was an option? Take a pass on the night with no nasty consequences? No guilt or anger or sulking?

Well, maybe not for you guys.

Nick and I, we sometimes laugh, laugh out loud, at the horrible things women make their husbands do to prove their love. The pointless tasks, the myriad sacrifices, the endless small surrenders. We call these men the dancing monkeys .

Nick will come home, sweaty and salty and beer-loose from a day at the ballpark, and I’ll curl up in his lap, ask him about the game, ask him if his friend Jack had a good time, and he’ll say, “Oh, he came down with a case of the dancing monkeys—poor Jennifer was having a ‘real stressful week’ and really needed him at home.”

Or his buddy at work, who can’t go out for drinks because his girlfriend really needs him to stop by some bistro where she is having dinner with a friend from out of town. So they can finally meet. And so she can show how obedient her monkey is: He comes when I call, and look how well groomed!

Wear this, don’t wear that. Do this chore now and do this chore when you get a chance and by that I mean now. And definitely, definitely, give up the things you love for me, so I will have proof that you love me best . It’s the female pissing contest—as we swan around our book clubs and our cocktail hours, there are few things women love more than being able to detail the sacrifices our men make for us. A call-and-response, the response being: “Ohhh, that’s so sweet .”

I am happy not to be in that club. I don’t partake, I don’t get off on emotional coercion, on forcing Nick to play some happy-hubby role—the shrugging, cheerful, dutiful taking out the trash, honey! role. Every wife’s dream man, the counterpoint to every man’s fantasy of the sweet, hot, laid-back woman who loves sex and a stiff drink.

I like to think I am confident and secure and mature enough to know Nick loves me without him constantly proving it. I don’t need pathetic dancing-monkey scenarios to repeat to my friends; I am content with letting him be himself.

I don’t know why women find that so hard.

When I get home from dinner, my cab pulls up just as Nick is getting out of his own taxi, and he stands in the street with his arms out to me and a huge grin on his face—“Baby!”—and I run and I jump up into his arms and he presses a stubbly cheek against mine.

“What did you do tonight?” I ask.

“Some guys were playing poker after work, so I hung around for a bit. Hope that was okay.”

“Of course,” I say. “More fun than my night.”

“Who all showed up?”

“Oh, Campbell and Insley and their dancing monkeys. Boring. You dodged a bullet. A really lame bullet.”

He squeezes me into him—those strong arms—and hauls me up the stairs. “God, I love you,” he says.

Then comes sex and a stiff drink and a night of sleep in a sweet, exhausted rats’ tangle in our big, soft bed. Poor me.

NICK DUNNE

ONE DAY GONE

I didn’t listen to Go about the booze. I finished half the bottle sitting on her sofa by myself, my eighteenth burst of adrenaline kicking in just when I thought I’d finally go to sleep: My eyes were shutting, I was shifting my pillow, my eyes were closed, and then I saw my wife, blood clotting her blond hair, weeping and blind in pain, scraping herself along our kitchen floor. Calling my name. Nick, Nick, Nick!

I took repeated tugs on the bottle, psyching myself up for sleep, a losing routine. Sleep is like a cat: It only comes to you if you ignore it. I drank more and continued my mantra. Stop thinking , swig, empty your head , swig, now, seriously, empty your head, do it now , swig. You need to be sharp tomorrow, you need to sleep ! Swig. I got nothing more than a fussy nap toward dawn, woke up an hour later with a hangover. Not a disabling hangover, but decent. I was tender and dull. Fuggy. Maybe still a little drunk. I stutter-walked to Go’s Subaru, the movement feeling alien, like my legs were on backward. I had temporary ownership of the car; the police had graciously accepted my gently used Jetta for inspection along with my laptop—all just a formality, I was assured. I drove home to get myself some decent clothes.

Three police cruisers sat on my block, our very few neighbors milling around. No Carl, but there was Jan Teverer—the Christian lady—and Mike, the father of the three-year-old IVF triplets—Trinity, Topher, and Talullah. (“I hate them all, just by name,” said Amy, a grave judge of anything trendy. When I mentioned that the name Amy was once trendy, my wife said, “Nick, you know the story of my name.” I had no idea what she was talking about.)

Jan nodded from a distance without meeting my eyes, but Mike strode over to me as I got out of my car. “I’m so sorry, man, anything I can do, you let me know. Anything. I did the mowing this morning, so at least you don’t needta worry about that.”

Mike and I took turns mowing all the abandoned foreclosed properties in the complex—heavy rains in the spring had turned yards into jungles, which encouraged an influx of raccoons. We had raccoons everywhere, gnawing through our garbage late at night, sneaking into our basements, lounging on our porches like lazy house pets. The mowing didn’t seem to make them go away, but we could at least see them coming now.

“Thanks, man, thank you,” I said.

“Man, my wife, she’s been hysterical since she heard,” he said. “Absolutely hysterical.”

“I’m so sorry to hear that,” I said. “I gotta—” I pointed at my door.

“Just sitting around, crying over pictures of Amy.”

I had no doubt that a thousand Internet photos had popped up overnight, just to feed the pathetic needs of women like Mike’s wife. I had no sympathy for drama queens.

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