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 am being a girl. I just thought it’d be a tradition: All across town, I have strewn little love messages, reminders of our past year together, my treasure hunt. I can picture the third clue, fluttering from a piece of Scotch tape in the crook of the V of the Robert Indiana Love sculpture up near Central Park. Tomorrow, some bored twelve-year-old tourist stumbling along behind his parents is going to pick it off, read it, shrug, and let it float away like a gum wrapper.

My treasure-hunt finale was perfect, but isn’t now. It’s an absolutely gorgeous vintage briefcase. Leather. Third anniversary is leather. A work-related gift may be a bad idea, given that work isn’t exactly happy right now. In our kitchen, I have two live lobsters, like always. Or like what was supposed to be like always. I need to phone my mom and see if they can keep for a day, scrambling dazedly around their crate, or if I need to stumble in, and with my wine-lame eyes, battle them and boil them in my pot for no good reason. I’m killing two lobsters I won’t even eat.

Dad phoned to wish us happy anniversary, and I picked up the phone and I was going to play it cool, but then I started crying when I started talking—I was doing the awful chick talk-cry: mwaha-waah-gwwahh-and-waaa-wa —so I had to tell him what happened, and he told me I should open a bottle of wine and wallow in it for a bit. Dad is always a proponent of a good indulgent sulk. Still, Nick will be angry that I told Rand, and of course Rand will do his fatherly thing, pat Nick on the shoulder and say, “Heard you had some emergency drinking to do on your anniversary, Nicky.” And chuckle. So Nick will know, and he will be angry with me because he wants my parents to believe he’s perfect—he beams when I tell them stories about what a flawless son-in-law he is.

Except for tonight. I know, I know, I’m being a girl.

It’s five A.M. The sun is coming up, almost as bright as the streetlights outside that have just blinked off. I always like that switch, when I’m awake for it. Sometimes, when I can’t sleep, I’ll pull myself out of bed and walk through the streets at dawn, and when the lights click off, all together, I always feel like I’ve seen something special. Oh, there go the streetlights! I want to announce. In New York it’s not three or four A.M. that’s the quiet time—there are too many bar stragglers, calling out to each other as they collapse into taxis, yelping into their cell phones as they frantically smoke that one last cigarette before bed. Five A.M., that’s the best time, when the clicking of your heels on the sidewalk sounds illicit. All the people have been put away in their boxes, and you have the whole place to yourself.

Here’s what happened: Nick got home just after four, a bulb of beer and cigarettes and fried-egg odor attached to him, a placenta of stink. I was still awake, waiting for him, my brain ca-thunking after a marathon of Law and Order . He sat down on our ottoman and glanced at the present on the table and said nothing. I stared at him back. He clearly wasn’t going to even graze against an apology— hey, sorry things got screwy today . That’s all I wanted, just a quick acknowledgment.

“Happy day after anniversary,” I start.

He sighs, a deep aggrieved moan. “Amy, I’ve had the crappiest day ever. Please don’t lay a guilt trip on me on top of it.”

Nick grew up with a father who never, ever apologized, so when Nick feels he has screwed up, he goes on offense. I know this, and I can usually wait it out, usually.

“I was just saying happy anniversary.”

“Happy anniversary, my asshole husband who neglected me on my big day.”

We sit silent for a minute, my stomach knotting. I don’t want to be the bad guy here. I don’t deserve that. Nick stands up.

“Well, how was it?” I ask dully.

“How was it? It was fucking awful. Sixteen of my friends now have no jobs. It was miserable. I’ll probably be gone too, another few months.”

Friends. He doesn’t even like half the guys he was out with, but I say nothing.

“I know it feels dire right now, Nick. But—”

“It’s not dire for you, Amy. Not for you, it never will be dire. But for the rest of us? It’s very different.”

The same old. Nick resents that I’ve never had to worry about money and I never will. He thinks that makes me softer than everyone else, and I wouldn’t disagree with him. But I do work. I clock in and clock back out. Some of my girlfriends have literally never had a job; they discuss people with jobs in the pitying tones you talk about a fat girl with “such a nice face.” They will lean forward and say, “But of course, Ellen has to work,” like something out of a Noël Coward play. They don’t count me, because I can always quit my job if I want to. I could build my days around charity committees and home decoration and gardening and volunteering, and I don’t think there’s anything wrong with building a life around those things. Most beautiful, good things are done by women people scorn. But I work.

“Nick, I’m on your side here. We’ll be okay no matter what. My money is your money.”

“Not according to the prenup.”

He is drunk. He only mentions the prenup when he’s drunk. Then all the resentment comes back. I’ve told him hundreds, literally hundreds of times , I’ve said the words: The prenup is pure business. It’s not for me, it’s not even for my parents, it’s for my parents’ lawyers. It says nothing about us, not you and me.

He walks over toward the kitchen, tosses his wallet and wilted dollars on the coffee table, crumples a piece of notepaper and tosses it in the trash with a series of credit-card receipts.

“That’s a shitty thing to say, Nick.”

“It’s a shitty way to feel, Amy.”

He walks to our bar—in the careful, swamp-wading gait of a drunk—and actually pours himself another drink.

“You’re going to make yourself sick,” I say.

He raises his glass in an up-yours cheers to me. “You just don’t get it, Amy. You just can’t. I’ve worked since I was fourteen years old. I didn’t get to go to fucking tennis camp and creative-writing camp and SAT prep and all that shit that apparently everyone else in New York City did, because I was wiping down tables at the mall and I was mowing lawns and I was driving to Hannibal and fucking dressing like Huck Finn for the tourists and I was cleaning the funnel-cake skillets at midnight.”

I feel an urge to laugh, actually to guffaw. A big belly laugh that would sweep up Nick, and soon we’d both be laughing and this would be over. This litany of crummy jobs. Being married to Nick always reminds me: People have to do awful things for money. Ever since I’ve been married to Nick, I always wave to people dressed as food.

“I’ve had to work so much harder than anyone else at the magazine to even get to the magazine. Twenty years, basically, I’ve been working to get where I am, and now it’s all going to be gone, and there’s not a fucking thing I know how to do instead, unless I want to go back home, be a river rat again.”

“You’re probably too old to play Huck Finn,” I say.

“Fuck you, Amy.”

And then he goes to the bedroom. He’s never said that to me before, but it came out of his mouth so smoothly that I assume—and this never crossed my mind—I assume he’s thought it. Many times. I never thought I’d be the kind of woman who’d be told to fuck herself by her husband. And we’ve sworn never to go to bed angry. Compromise, communicate, and never go to bed angry—the three pieces of advice gifted and regifted to all newlyweds. But lately it seems I am the only one who compromises; our communications don’t solve anything; and Nick is very good at going to bed angry. He can turn off his emotions like a spout. He is already snoring.

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