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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Let’s see, what’s new? Nick and I are currently embroiled in what I have taken to calling (to myself) the Cuckoo Clock Conundrum. My parents’ cherished heirloom looks ridiculous in the new house. But then all our New York stuff does. Our dignified elephant of a chesterfield with its matching baby ottoman sits in the living room looking stunned, as if it got sleep-darted in its natural environment and woke up in this strange new captivity, surrounded by faux-posh carpet and synthetic wood and unveined walls. I do miss our old place—all the bumps and ridges and hairline fractures left by the decades. (Pause for attitude adjustment.) But new is nice too! Just different. The clock would disagree. The cuckoo is also having a tough time adjusting to its new space: The little bird lurches out drunkenly at ten minutes after the hour; seventeen minutes before; forty-one past. It emits a dying wail—coo-crrrrww—that every time brings Bleecker trotting in from some hideaway, eyes wild, all business, his tail a bottle-brush as he tilts his head toward the feathers and mewls.

“Wow, your parents must really hate me,” Nick says whenever we’re both in earshot of the noise, though he’s smart enough not to recommend ridding ourselves of the thing just yet. I actually want to trash it too. I am the one (the jobless) at home all day, just waiting for its squawk, a tense moviegoer steeling myself for the next outburst from the crazy patron behind me—both relieved (there it is!) and angry (there it is!) each time it comes.

Much to-do was made over the clock at the housewarming ( oh, look at that, an antique clock! ), which Mama Maureen Dunne insisted on. Actually, not insisted on; Mama Mo does not insist. She simply makes things a reality by assuming they are such: From the first morning after the move, when she appeared on our doorstep with a welcome-home egg scramble and a family pack of toilet paper (which didn’t speak well for the egg scramble), she’d spoken of the housewarming as if it were a fact. So when do you want to do your housewarming? Have you thought about who I should invite to the housewarming? Do you want a housewarming or something fun, like a stock-the-bar party? But a traditional housewarming is always nice .

And then suddenly there was a date, and the date was today, and Dunne family and friends were shaking off the October drizzle from umbrellas and carefully, conscientiously wiping their feet on the floor mat Maureen had brought for us this morning. The rug says: All Are Friends Who Enter Here . It is from Costco. I have learned about bulk shopping in my four weeks as a Mississippi River resident. Republicans go to Sam’s Club, Democrats go to Costco. But everyone buys bulk because—unlike Manhattanites—they all have space to store twenty-four jars of sweet pickles. And—unlike Manhattanites—they all have uses for twenty-four jars of sweet pickles. (No gathering is complete without a lazy Susan full of pickles and Spanish olives right from the jar. And a salt lick.)

I set the scene: It is one of those big-smelling days, when people bring the outdoors in with them, the scent of rain on their sleeves, in their hair. The older women—Maureen’s friends—present varying food items in plastic, dishwasher-safe containers they will later ask to be returned. And ask and ask. I know, now, that I am supposed to wash out the containers and drop each of them back by their proper homes—a Ziploc carpool—but when I first came here, I was unaware of the protocol. I dutifully recycled all the plastic containers, and so I had to go buy all new ones. Maureen’s best friend, Vicky, immediately noticed her container was brand-new, store-bought, an imposter, and when I explained my confusion, she widened her eyes in amazement: So that’s how they do it in New York .

But the housewarming: The older women are Maureen’s friends from long-ago PTA meetings, from book clubs, from the Shoe-Be-Doo-Be at the mall, where she spent forty hours a week slipping sensible block heels onto women of a certain age. (She can size a foot on sight—women’s 8, narrow!—it’s her go-to party trick.) All Mo’s friends love Nick, and they all have stories about sweet things Nick has done for them over the years.

The younger women, the women representing the pool of possible Amy-friends, all sport the same bleached-blond wedge haircut, the same slip-on mules. They are the daughters of Maureen’s friends, and they all love Nick, and they all have stories about sweet things Nick has done for them over the years. Most of them are out of work from the mall closings, or their husbands are out of work from the mall closings, so they all offer me recipes for “cheap and easy eats” that usually involve a casserole made from canned soup, butter, and a snack chip.

The men are nice and quiet and hunker in circles, talking about sports and smiling benevolently toward me.

Everyone is nice. They are literally as nice as they can be . Maureen, the tristate’s hardiest cancer patient, introduces me to all her friends the same way you’d show off a slightly dangerous new pet: “This is Nick’s wife, Amy, who was born and raised in New York City.” And her friends, plump and welcoming, immediately suffer some strange Tourettesian episode: They repeat the words— New York City !—with clasped hands and say something that defies response: That must have been neat . Or, in reedy voices, they sing “New York, New York,” rocking side to side with tiny jazz hands. Maureen’s friend from the shoe store, Barb, drawls “ Nue York Ceety ! Get a rope,” and when I squint at her in confusion, she says, “Oh, it’s from that old salsa commercial!” and when I still fail to connect, she blushes, puts a hand on my arm, and says, “I wouldn’t really hang you.”

Ultimately, everyone trails off into giggles and confesses they’ve never been to New York. Or that they’ve been—once—and didn’t care for it much. Then I say something like: You’d like it or It’s definitely not for everyone or Mmm , because I’ve run out of things to say.

“Be friendly, Amy,” Nick spits into my ear when we’re refilling drinks in the kitchen (midwesterners love two liters of soda, always two liters, and you pour them into big red plastic Solo cups, always).

“I am ,” I whine. It really hurts my feelings, because if you asked anyone in that room whether I’d been friendly, I know they’d say yes.

Sometimes I feel like Nick has decided on a version of me that doesn’t exist. Since we’ve moved here, I’ve done girls’ nights out and charity walks, I’ve cooked casseroles for his dad and helped sell tickets for raffles. I tapped the last of my money to give to Nick and Go so they could buy the bar they’ve always wanted, and I even put the check inside a card shaped like a mug of beer— Cheers to You! —and Nick just gave a flat begrudging thanks. I don’t know what to do. I’m trying.

We deliver the soda pops, me smiling and laughing even harder, a vision of grace and good cheer, asking everyone if I can get them anything else, complimenting women on ambrosia salads and crab dips and pickle slices wrapped in cream cheese wrapped in salami.

Nick’s dad arrives with Go. They stand silently on the doorstep, Midwest Gothic, Bill Dunne wiry and still handsome, a tiny Band-Aid on his forehead, Go grim-faced, her hair in barrettes, her eyes averted from her father.

“Nick,” Bill Dunne says, shaking his hand, and he steps inside, frowning at me. Go follows, grabs Nick, and pulls him back behind the door, whispering, “I have no idea where he is right now, headwise. Like if he’s having a bad day or if he’s just being a jackass. No idea.”

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