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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“Oh, that sounds like too much trouble, really. We’re fine. We really are.”

“You’ll be more fine after you eat a good meal,” she said, patting my arm.

Silence. She tried another angle.

“I really hope it doesn’t end up having anything to do … with our homeless problem,” she said. “I swear, I have filed complaint after complaint. One broke into my garden last month. My motion sensor went off, so I peeked outside and there he was, kneeling in the dirt, just guzzling tomatoes. Gnawing at them like apples, his face and shirt were covered in juice and seeds. I tried to scare him off, but he loaded up at least twenty before he ran off. They were on the edge anyway, those Blue Book guys. No other skills.”

I felt a sudden affinity for the troop of Blue Book men, pictured myself walking into their bitter encampment, waving a white flag: I am your brother, I used to work in print too. The computers stole my job too .

“Don’t tell me you’re too young to remember Blue Books, Nick,” Shawna was saying. She poked me in the ribs, making me jump more than I should have.

“I’m so old, I’d forgotten about Blue Books until you reminded me.”

She laughed: “What are you, thirty-one, thirty-two?”

“Try thirty-four.”

“A baby.”

The trio of energetic elderly ladies arrived just then, tromping toward us, one working her cell phone, all wearing sturdy canvas garden skirts, Keds, and sleeveless golf tops revealing wobbly arms. They nodded at me respectfully, then flicked a glance of disapproval when they saw Shawna. We looked like a couple hosting a backyard barbecue. We looked inappropriate.

Please go away, Shawna , I thought.

“So anyway, the homeless guys, they can be really aggressive, like, threatening, toward women,” Shawna said. “I mentioned it to Detective Boney, but I get the feeling she doesn’t like me very much.”

“Why do you say that?” I already knew what she was going to say, the mantra of all attractive women.

“Women don’t like me all that much.” She shrugged. “Just one of those things. Did—does Amy have a lot of friends in town?”

A number of women—friends of my mom’s, friends of Go’s—had invited Amy to book clubs and Amway parties and girls’ nights at Chili’s. Amy had predictably declined all but a few, which she attended and hated: “We ordered a million little fried things and drank cocktails made from ice cream .”

Shawna was watching me, wanting to know about Amy, wanting to be grouped together with my wife, who would hate her.

“I think she may have the same problem you do,” I said in a clipped voice.

She smiled.

Leave, Shawna .

“It’s hard to come to a new town,” she said. “Hard to make friends, the older you get. Is she your age?”

“Thirty-eight.”

That seemed to please her too.

Go the fuck away .

“Smart man, likes them older women.”

She pulled a cell phone out of her giant chartreuse handbag, laughing. “Come here,” she said, and pulled an arm around me. “Give me a big chicken-Frito casserole smile.”

I wanted to smack her, right then, the obliviousness, the girliness , of her: trying to get an ego stroke from the husband of a missing woman. I swallowed my rage, tried to hit reverse, tried to overcompensate and be nice , so I smiled robotically as she pressed her face against my cheek and took a photo with her phone, the fake camera-click sound waking me.

She turned the phone around, and I saw our two sunburned faces pressed together, smiling as if we were on a date at the baseball game. Looking at my smarmy grin, my hooded eyes, I thought, I would hate this guy .

AMY ELLIOTT DUNNE

SEPTEMBER 15, 2010

DIARY ENTRY

I am writing from somewhere in Pennsylvania. Southwest corner. A motel off the highway. Our room overlooks the parking lot, and if I peek out from behind the stiff beige curtains, I can see people milling about under the fluorescent lights. It’s the kind of place where people mill about. I have the emotional bends again. Too much has happened, and so fast, and now I am in southwest Pennsylvania, and my husband is enjoying a defiant sleep amid the little packets of chips and candies he bought from the vending machine down the hall. Dinner. He is angry at me for not being a good sport. I thought I was putting up a convincing front—hurray, a new adventure!—but I guess not.

Now that I look back, it was like we were waiting for something to happen. Like Nick and I were sitting under a giant soundproof, windproof jar, and then the jar fell over and—there was something to do.

Two weeks ago, we are in our usual unemployed state: partly dressed, thick with boredom, getting ready to eat a silent breakfast that we’ll stretch over the reading of the newspaper in its entirety. We even read the auto supplement now.

Nick’s cell phone rings at ten A.M., and I can tell by his voice that it is Go. He sounds springy, boyish, the way he always does when he talks to her. The way he used to sound with me.

He heads into the bedroom and shuts the door, leaving me holding two freshly made eggs Benedicts quivering on the plates. I place his on the table and sit opposite, wondering if I should wait to eat. If it were me, I think, I would come back out and tell him to eat, or else I’d raise a finger: Just one minute . I’d be aware of the other person, my spouse, left in the kitchen with plates of eggs. I feel bad that I was thinking that. Because soon I can hear worried murmurs and upset exclamations and gentle reassurances from behind the door, and I begin wondering if Go is having some back-home boy troubles. Go has a lot of breakups. Even the ones that she instigates require much handholding and goo-gawing from Nick.

So I have my usual Poor Go face on when Nick emerges, the eggs hardened on the plate. I see him and know this isn’t just a Go problem.

“My mom,” he starts, and sits down. “Shit. My mom has cancer. Stage four, and it’s spread to the liver and bones. Which is bad, which is …”

He puts his face in his hands, and I go over and put my arms around him. When he looks up, he is dry-eyed. Calm. I’ve never seen my husband cry.

“It’s too much for Go, on top of my dad’s Alzheimer’s.”

“Alzheimer’s? Alzheimer’s? Since when?”

“Well, a while. At first they thought it was some sort of early dementia. But it’s more, it’s worse.”

I think, immediately, that there is something wrong with us, perhaps unfixable, if my husband wouldn’t think to tell me this. Sometimes I feel it’s his personal game, that he’s in some sort of undeclared contest for impenetrability. “Why didn’t you say anything to me?”

“My dad isn’t someone I like to talk about that much.”

“But still—”

“Amy. Please.” He has that look, like I am being unreasonable, like he is so sure I am being unreasonable that I wonder if I am.

“But now. Go says with my mom, she’ll need chemo but … she’ll be really, really sick. She’ll need help.”

“Should we start looking for in-home care for her? A nurse?”

“She doesn’t have that kind of insurance.”

He stares at me, arms crossed, and I know what he is daring: daring me to offer to pay, and we can’t pay, because I’ve given my money to my parents.

“Okay, then, babe,” I say. “What do you want to do?”

We stand across from each other, a showdown, as if we are in a fight and I haven’t been informed. I reach out to touch him, and he just looks at my hand.

“We have to move back.” He glares at me, opening his eyes wide. He flicks his fingers out as if he is trying to rid himself of something sticky. “We’ll take a year, and we’ll go do the right thing. We have no jobs, we have no money, there’s nothing holding us here. Even you have to admit that.”

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