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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“Hey, I gotta ask—” Mike started.

I patted his arm and pointed again at the door, as if I had pressing business. I turned away before he could ask any questions and knocked on the door of my own house.

Officer Velásquez escorted me upstairs, into my own bedroom, into my own closet—past the silvery perfect-square gift box—and let me rifle through my things. It made me tense, selecting clothes in front of this young woman with the long brown braid, this woman who had to be judging me, forming an opinion. I ended up grabbing blindly: The final look was business-casual, slacks and short sleeves, like I was going to a convention. It would make an interesting essay, I thought, picking out appropriate clothes when a loved one goes missing. The greedy, angle-hungry writer in me, impossible to turn off.

I jammed it all into a bag and turned back around, looking at the gift box on the floor. “Could I look inside?” I asked her.

She hesitated, then played it safe. “No, I’m sorry, sir. Better not right now.”

The edge of the gift wrapping had been carefully slit. “Has somebody looked inside?”

She nodded.

I stepped around Velásquez toward the box. “If it’s already been looked at then—”

She stepped in front of me. “Sir, I can’t let you do that.”

“This is ridiculous. It’s for me from my wife—”

I stepped back around her, bent down, and had one hand on the corner of the box when she slapped an arm across my chest from behind. I felt a momentary spurt of fury, that this woman presumed to tell me what to do in my own home . No matter how hard I try to be my mother’s son, my dad’s voice comes into my head unbidden, depositing awful thoughts, nasty words.

“Sir, this is a crime scene, you—”

Stupid bitch .

Suddenly her partner, Riordan, was in the room and on me too, and I was shaking them off— fine, fine, fuck —and they were forcing me down the stairs. A woman was on all fours near the front door, squirreling along the floorboards, searching, I assume, for blood spatter. She looked up at me impassively, then back down.

I forced myself to decompress as I drove back to Go’s to dress. This was only one in a long series of annoying and asinine things the police would do in the course of this investigation (I like rules that make sense, not rules without logic), so I needed to calm down: Do not antagonize the cops , I told myself. Repeat if necessary: Do not antagonize the cops .

I ran into Boney as I entered the police station, and she said, “Your in-laws are here, Nick,” in an encouraging tone, like she was offering me a warm muffin.

Marybeth and Rand Elliott were standing with their arms around each other. Middle of the police station, they looked like they were posing for prom photos. That’s how I always saw them, hands patting, chins nuzzling, cheeks rubbing. Whenever I visited the Elliott home, I became an obsessive throat-clearer —I’m about to enter— because the Elliotts could be around any corner, cherishing each other. They kissed each other full on the mouth whenever they were parting, and Rand would cup his wife’s rear as he passed her. It was foreign to me. My parents divorced when I was twelve, and I think maybe, when I was very young, I witnessed a chaste cheek kiss between the two when it was impossible to avoid. Christmas, birthdays. Dry lips. On their best married days, their communications were entirely transactional: We’re out of milk again. (I’ll get some today.) I need this ironed properly. (I’ll do that today.) How hard is it to buy milk? (Silence.) You forgot to call the plumber. (Sigh.) Goddammit, put on your coat, right now, and go out and get some goddamn milk. Now . These messages and orders brought to you by my father, a midlevel phone-company manager who treated my mother at best like an incompetent employee. At worst? He never beat her, but his pure, inarticulate fury would fill the house for days, weeks, at a time, making the air humid, hard to breathe, my father stalking around with his lower jaw jutting out, giving him the look of a wounded, vengeful boxer, grinding his teeth so loud you could hear it across the room. Throwing things near her but not exactly at her. I’m sure he told himself: I never hit her . I’m sure because of this technicality he never saw himself as an abuser. But he turned our family life into an endless road trip with bad directions and a rage-clenched driver, a vacation that never got a chance to be fun. Don’t make me turn this car around . Please, really, turn it around.

I don’t think my father’s issue was with my mother in particular. He just didn’t like women. He thought they were stupid, inconsequential, irritating. That dumb bitch . It was his favorite phrase for any woman who annoyed him: a fellow motorist, a waitress, our grade school teachers, none of whom he ever actually met, parent-teacher conferences stinking of the female realm as they did. I still remember when Geraldine Ferraro was named the 1984 vice presidential candidate, us all watching it on the news before dinner. My mother, my tiny, sweet mom, put her hand on the back of Go’s head and said, Well, I think it’s wonderful . And my dad flipped the TV off and said, It’s a joke. You know it’s a goddamn joke. Like watching a monkey ride a bike .

It took another five years before my mother finally decided she was done. I came home from school one day and my father was gone. He was there in the morning and gone by the afternoon. My mom sat us down at the dining table and announced, “Your father and I have decided it would be best for everyone if we live apart,” and Go burst into tears and said, “Good, I hate you both!” and then, instead of running to her room like the script called for, she went to my mom and hugged her.

So my father went away and my thin, pained mother got fat and happy—fairly fat and extremely happy—as if she were supposed to be that way all along: a deflated balloon taking in air. Within a year, she’d morphed into the busy, warm, cheerful lady she’d be till she died, and her sister said things like “Thank God the old Maureen is back,” as if the woman who raised us was an imposter.

As for my father, for years I spoke to him on the phone about once a month, the conversations polite and newsy, a recital of things that happened . The only question my father ever asked about Amy was “How is Amy?,” which was not meant to elicit any answer beyond “She’s fine.” He remained stubbornly distant even as he faded into dementia in his sixties. If you’re always early, you’re never late . My dad’s mantra, and that included the onset of Alzheimer’s—a slow decline into a sudden, steep drop that forced us to move our independent, misogynistic father to a giant home that stank of chicken broth and piss, where he’d be surrounded by women helping him at all times. Ha.

My dad had limitations. That’s what my good-hearted mom always told us. He had limitations, but he meant no harm. It was kind of her to say, but he did do harm. I doubt my sister will ever marry: If she’s sad or upset or angry, she needs to be alone—she fears a man dismissing her womanly tears. I’m just as bad. The good stuff in me I got from my mom. I can joke, I can laugh, I can tease, I can celebrate and support and praise—I can operate in sunlight, basically—but I can’t deal with angry or tearful women. I feel my father’s rage rise up in me in the ugliest way. Amy could tell you about that. She would definitely tell you, if she were here.

I watched Rand and Marybeth for a moment before they saw me. I wondered how furious they’d be with me. I had committed an unforgivable act, not phoning them for so long. Because of my cowardice, my in-laws would always have that night of tennis lodged in their imagination: the warm evening, the lazy yellow balls bumping along the court, the squeak of tennis shoes, the average Thursday night they’d spent while their daughter was disappeared.

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