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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“You should pick up every call, Nick,” Marybeth said.

“I recognized this one—just my college alum fund looking for money.”

Rand sat beside me on the couch. The ancient, much abused cushions sank severely under our weight, so we ended up pushed toward each other, arms touching, which was fine with Rand. He was one of those guys who’d pronounce I’m a hugger as he came at you, neglecting to ask if the feeling was mutual.

Marybeth returned to business: “We do think it’s possible an Amy obsessive took her.” She turned to me, as if pleading a case. “We’ve had ’em over the years.”

Amy had been fond of recollecting stories of men obsessed with her. She described the stalkers in hushed tones over glasses of wine at various periods during our marriage—men who were still out there, always thinking about her and wanting her. I suspected these stories were inflated: The men always came off as dangerous to a very precise degree—enough for me to worry about but not enough to require us to involve the police. In short, a play world where I could be Amy’s chest-puffed hero, defending her honor. Amy was too independent, too modern, to be able to admit the truth: She wanted to play damsel.

“Lately?”

“Not lately, no,” Marybeth said, chewing her lip. “But there was a very disturbed girl back in high school.”

“Disturbed how?”

“She was obsessed with Amy. Well, with Amazing Amy . Her name was Hilary Handy—she modeled herself after Amy’s best friend in the books, Suzy. At first it was cute, I guess. And then it was like that wasn’t good enough anymore—she wanted to be Amazing Amy, not Suzy the sidekick. So she began imitating our Amy. She dressed like Amy, she colored her hair blond, she’d linger outside our house in New York. One time I was walking down the street and she came running up to me, this strange girl, and she looped her arm through mine and said, ‘I’m going to be your daughter now. I’m going to kill Amy and be your new Amy. Because it doesn’t really matter to you, does it? As long as you have an Amy .’ Like our daughter was a piece of fiction she could rewrite.”

“We finally got a restraining order because she threw Amy down a flight of stairs at school,” Rand said. “Very disturbed girl. That kind of mentality doesn’t go away.”

“And then Desi,” Marybeth said.

“And Desi,” Rand said.

Even I knew about Desi. Amy had attended a Massachusetts boarding school called Wickshire Academy—I had seen the photos, Amy in lacrosse skirts and headbands, always with autumn colors in the background, as if the school were based not in a town but in a month. October. Desi Collings attended the boys’ boarding school that was paired with Wickshire. In Amy’s stories, he was a pale, Romantic figure, and their courtship had been of the boarding-school variety: chilly football games and overheated dances, lilac corsages and rides in a vintage Jaguar. Everything a little bit midcentury.

Amy dated Desi, quite seriously, for a year. But she began to find him alarming: He talked as if they were engaged, he knew the number and gender of their children. They were going to have four kids, all boys. Which sounded suspiciously like Desi’s own family, and when he brought his mother down to meet her, Amy grew queasy at the striking resemblance between herself and Mrs. Collings. The older woman had kissed her cheek coldly and murmured calmly in her ear, “Good luck.” Amy couldn’t tell if it was a warning or a threat.

After Amy cut it off with Desi, he still lingered around the Wickshire campus, a ghostly figure in dark blazers, leaning against wintry, leafless oak trees. Amy returned from a dance one February night to find him lying on her bed, naked, on top of the covers, groggy from a very marginal pill overdose. Desi left school shortly after.

But he still phoned her, even now, and several times a year sent her thick, padded envelopes that Amy tossed unopened after showing them to me. They were postmarked St. Louis. Forty minutes away. “It’s just a horrible, miserable coincidence,” she’d told me. Desi had the St. Louis family connections on his mother’s side. This much she knew but didn’t care to know more. I’d picked through the trash to retrieve one, read the letter, sticky with alfredo sauce, and it had been utterly banal: talk of tennis and travel and other things preppy. Spaniels. I tried to picture this slender dandy, a fellow in bow ties and tortoiseshell glasses, busting into our house and grabbing Amy with soft, manicured fingers. Tossing her in the trunk of his vintage roadster and taking her … antiquing in Vermont. Desi. Could anyone believe it was Desi?

“Desi lives not far away, actually,” I said. “St. Louis.”

“Now, see?” Rand said. “Why are the cops not all over this?”

“Someone needs to be,” I said. “I’ll go. After the search here tomorrow.”

“The police definitely seem to think it’s … close to home,” Marybeth said. She kept her eyes on me one beat too long, then shivered, as if shaking off a thought.

AMY ELLIOTT DUNNE

AUGUST 23, 2010

DIARY ENTRY

Summer. Birdies. Sunshine. I spent today shuffling around Prospect Park, my skin tender, my bones brittle. Misery-battling. It is an improvement, since I spent the previous three days in our house in the same crusty pajama set, marking time until five, when I could have a drink. Trying to make myself remember the suffering in Darfur. Put things into perspective. Which, I guess, is just further exploiting the people of Darfur.

So much has unraveled the past week. I think that’s what it is, that it’s all happened at once, so I have the emotional bends. Nick lost his job a month ago. The recession is supposed to be winding down, but no one seems to know that. So Nick lost his job. Second round of layoffs, just like he predicted—just a few weeks after the first round. Oops, we didn’t fire nearly enough people . Idiots.

At first I think Nick might be okay. He makes a massive list of things he’s always meant to do. Some of it’s tiny stuff: He changes watch batteries and resets clocks, he replaces a pipe beneath our sink and repaints all the rooms we painted before and didn’t like. Basically, he does a lot of things over. It’s nice to take some actual do-overs, when you get so few in life. And then he starts on bigger stuff: He reads War and Peace . He flirts with taking Arabic lessons. He spends a lot of time trying to guess what skills will be marketable over the next few decades. It breaks my heart, but I pretend it doesn’t for his sake.

I keep asking him: “Are you sure you’re okay?”

At first I try it seriously, over coffee, eye contact, my hand on his. Then I try it breezily, lightly, in passing. Then I try it tenderly, in bed, stroking his hair.

He has the same answer always: “I’m fine. I don’t really want to talk about it.”

I wrote a quiz that was perfect for the times: “How Are You Handling Your Layoff?”

a) I sit in my pajamas and eat a lot of ice cream—sulking is therapeutic!

b) I write nasty things about my old boss online, everywhere—venting feels great!

c) Until a new job comes along, I try to find useful things to do with my newfound time, like learning a marketable language or finally reading War and Peace .

It was a compliment to Nick—C was the correct answer—but he just gave a sour smile when I showed it to him.

A few weeks in, the bustling stopped, the usefulness stopped, as if he woke up one morning under a decrepit, dusty sign that read, Why Fucking Bother? He went dull-eyed. Now he watches TV, surfs porn, watches porn on TV. He eats a lot of delivery food, the Styrofoam shells propped up near the overflowing trash can. He doesn’t talk to me, he behaves as if the act of talking physically pains him and I am a vicious woman to ask it of him.

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