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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She went back to her solitaire, but I wanted her attention. I kept talking.

“I should probably check in on Dad at some point,” I said. “I don’t know if I’ll tell him about Amy.”

“No,” she said. “Don’t. He was even weirder about Amy than you are.”

“I always felt like she must remind him of an old girlfriend or something—the one who got away. After he—” I made the downward swoop of a hand that signified his Alzheimer’s—“he was kind of rude and awful, but …”

“Yeah, but he kind of wanted to impress her at the same time,” she said. “Your basic jerky twelve-year-old boy trapped in a sixty-eight-year-old asshole’s body.”

“Don’t women think that all men are jerky twelve-year-olds at heart?”

“Hey, if the heart fits.”

Eleven-oh-eight P.M., Rand was waiting for us just inside the automatic sliding doors to the hotel, his face squinting into the dark to make us out. The Hillsams were driving their pick-up; Stucks and I both rode in the bed. Rand came trotting up to us in khaki golf shorts and a crisp Middlebury T-shirt. He hopped in the back, planted himself on the wheel cover with surprising ease, and handled the introductions like he was the host of his own mobile talk show.

“I’m really sorry about Amy, Rand,” Stucks said loudly, as we hurtled out of the parking lot with unnecessary speed and hit the highway. “She’s such a sweet person. One time she saw me out painting a house, sweating my ba—my butt off, and she drove on to 7-Eleven, got me a giant pop, and brought it back to me, right up on the ladder.”

This was a lie. Amy cared so little for Stucks or his refreshment that she wouldn’t have bothered to piss in a cup for him.

“That sounds like her,” Rand said, and I was flush with unwelcome, ungentlemanly annoyance. Maybe it was the journalist in me, but facts were facts, and people didn’t get to turn Amy into everyone’s beloved best friend just because it was emotionally expedient.

“Middlebury, huh?” Stucks continued, pointing at Rand’s T-shirt. “Got a hell of a rugby team.”

“That’s right we do,” Rand said, the big smile again, and he and Stucks began an improbable discussion of liberal-arts rugby over the noise of the car, the air, the night, all the way to the mall.

Joe Hillsam parked his truck outside the giant cornerstone Mervyns. We all hopped out, stretched our legs, shook ourselves awake. The night was muggy and moon-slivered. I noticed Stucks was wearing—maybe ironically, possibly not—a T-shirt that read Save Gas, Fart in a Jar .

“So, this place, what we’re doing, it’s freakin’ dangerous, I don’t want to lie,” Mikey Hillsam began. He had beefed up over the years, as had his brother; they weren’t just barrel-chested but barrel-everythinged. Standing side by side, they were about five hundred pounds of dude.

“We came here once, me and Mikey, just for—I don’t know, to see it, I guess, see what it had become, and we almost got our asses handed to us,” said Joe. “So tonight we take no chances.” He reached into the cab for a long canvas bag and unzipped it to reveal half a dozen baseball bats. He began handing them out solemnly. When he got to Rand, he hesitated. “Uh, you want one?”

“Hell yes, I do,” Rand said, and they all nodded and smiled approval, the energy in the circle a friendly backslap, a good for you, old man .

“Come on,” Mikey said, and led us along the exterior. “There’s a door with a lock smashed off down here near the Spencer’s.”

Just then we passed the dark windows of Shoe-Be-Doo-Be, where my mom had worked for more than half my life. I still remember the thrill of her going to apply for a job at that most wondrous of places—the mall!—leaving one Saturday morning for the job fair in her bright peach pantsuit, a forty-year-old woman looking for work for the first time, and her coming home with a flushed grin: We couldn’t imagine how busy the mall was, so many different kinds of stores! And who knew which one she might work in? She applied to nine! Clothing stores and stereo stores and even a designer popcorn store. When she announced a week later that she was officially a shoe saleslady, her kids were underwhelmed.

“You’ll have to touch all sorts of stinky feet,” Go complained.

“I’ll get to meet all sorts of interesting people,” our mom corrected.

I peered into the gloomy window. The place was entirely vacant except for a shoe sizer lined pointlessly against the wall.

“My mom used to work here,” I told Rand, forcing him to linger with me.

“What kind of place was it?”

“It was a nice place, they were good to her.”

“I mean what did they do here?”

“Oh, shoes. They did shoes.”

“That’s right! Shoes. I like that. Something people actually need. And at the end of the day, you know what you’ve done: You’ve sold five people shoes. Not like writing, huh?”

“Dunne, come on!” Stucks was leaning against the open door ahead; the others had gone inside.

I’d expected the mall smell as we entered: that temperature-controlled hollowness. Instead, I smelled old grass and dirt, the scent of the outdoors inside, where it had no place being. The building was heavy-hot, almost fuzzy, like the inside of a mattress. Three of us had giant camping flashlights, the glow illuminating jarring images: It was suburbia, post-comet, post-zombie, post-humanity. A set of muddy shopping-cart tracks looped crazily along the white flooring. A raccoon chewed on a dog treat in the entry to a women’s bathroom, his eyes flashing like dimes.

The whole mall was quiet; Mikey’s voice echoed, our footsteps echoed, Stucks’s drunken giggle echoed. We would not be a surprise attack, if attack was what we had in mind.

When we reached the central promenade of the mall, the whole area ballooned: four stories high, escalators and elevators crisscrossing in the black. We all gathered near a dried-up fountain and waited for someone to take the lead.

“So, guys,” Rand said doubtfully, “what’s the plan here? You all know this place, and I don’t. We need to figure out how to systematically—”

We heard a loud metal rattle right behind us, a security gate going up.

“Hey, there’s one!” Stucks yelled. He trained his flashlight on a man in a billowing rain slicker, shooting out from the entry of a Claire’s, running full speed away from us.

“Stop him!” Joe yelled, and began running after him, thick tennis shoes slapping against the ceramic tile, Mikey right behind him, flashlight trained on the stranger, the two brothers calling gruffly— hold up there, hey, guy, we just have a question . The man didn’t even give a backward glance. I said hold on, motherfucker! The runner remained silent amid the yelling, but he picked up speed and shot down the mall corridor, in and out of the flashlight’s glow, his slicker flapping behind him like a cape. Then the guy turned acrobatic: leaping over a trash can, shimmying off the edge of a fountain, and finally slipping under a metal security gate to the Gap and disappearing.

“Fucker!” The Hillsams had turned heart-attack red in the face, the neck, the fingers. They took turns grunting at the gate, straining to lift it.

I reached down with them, but there was no budging it over half a foot. I lay down on the floor and tried threading myself under the gate: toes, calves, then stuck at my waist.

“Nope, no go.” I grunted. “Fuck!” I pulled up and shone my flashlight into the store. The showroom was empty except for a pile of clothing racks someone had dragged to the center, as if to start a bonfire. “All the stores connect in the back to passageways for trash, plumbing,” I said. “He’s probably at the other end of the mall by now.”

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