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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So it happened. In a strange, sudden snowstorm in early April. Not April of this year, April of last year. I was working the bar alone because Go was having a Mom Night; we took turns not working, staying home with our mother and watching bad TV. Our mom was going fast, she wouldn’t last the year, not even close.

I was actually feeling okay right at that moment—my mom and Go were snuggled up at home watching an Annette Funicello beach movie, and The Bar had had a busy, lively night, one of those nights where everyone seemed to have come off a good day. Pretty girls were nice to homely guys. People were buying rounds for strangers just because. It was festive. And then it was the end of the night, time to close, everybody out. I was about to lock the door when Andie flung it wide and stepped in, almost on top of me, and I could smell the light-beer sweetness on her breath, the scent of woodsmoke in her hair. I paused for that jarring moment when you try to process someone you’ve seen in only one setting, put them in a new context. Andie in The Bar. Okay. She laughed a pirate-wench laugh and pushed me back inside.

“I just had the most fantastically awful date, and you have to have a drink with me.” Snowflakes gathered in the dark waves of her hair, her sweet scattering of freckles glowed, her cheeks were bright pink, as if someone had double-slapped her. She has this great voice, this fuzzy-duckling voice, that starts out ridiculously cute and ends up completely sexy. “Please, Nick, I’ve got to get that bad-date taste out of my mouth.”

I remember us laughing, and thinking what a relief it was to be with a woman and hear her laugh. She was wearing jeans and a cashmere V-neck; she is one of those girls who look better in jeans than a dress. Her face, her body, is casual in the best way. I assumed my position behind the bar, and she slid onto a bar stool, her eyes assessing all the liquor bottles behind me.

“Whaddya want, lady?”

“Surprise me,” she said.

“Boo,” I said, the word leaving my lips kiss-puckered.

“Now surprise me with a drink.” She leaned forward so her cleavage was leveraged against the bar, her breasts pushed upward. She wore a pendant on a thin gold chain; the pendant slid between her breasts down under her sweater. Don’t be that guy , I thought. The guy who pants over where the pendant ends .

“What flavor you feel like?” I asked.

“Whatever you give me, I’ll like.”

It was that line that caught me, the simplicity of it. The idea that I could do something and it would make a woman happy, and it would be easy. Whatever you give me, I’ll like . I felt an overwhelming wave of relief. And then I knew I didn’t love Amy anymore.

I don’t love my wife anymore , I thought, turning to grab two tumblers. Not even a little bit. I am wiped clean of love, I am spotless . I made my favorite drink: Christmas Morning, hot coffee and cold peppermint schnapps. I had one with her, and when she shivered and laughed—that big whoop of a laugh—I poured us another round. We drank together an hour past closing time, and I mentioned the word wife three times, because I was looking at Andie and picturing taking her clothes off. A warning for her, the least I could do: I have a wife. Do with that what you will .

She sat in front of me, her chin in her hands, smiling up at me.

“Walk me home?” she said. She’d mentioned before how close she lived to downtown, how she needed to stop by The Bar some night and say hello, and did she mention how close she lived to The Bar? My mind had been primed: Many times I’d mentally strolled the few blocks toward the bland brick apartments where she lived. So when I suddenly was out the door, walking her home, it didn’t seem unusual at all—there wasn’t that warning bell that told me: This is unusual, this is not what we do .

I walked her home, against the wind, snow flying everywhere, helping her rewrap her red knitted scarf once, twice, and on the third time, I was tucking her in properly and our faces were close, and her cheeks were a merry holiday-sledding pink, and it was the kind of thing that could never have happened in another hundred nights, but that night it was possible. The conversation, the booze, the storm, the scarf.

We grabbed each other at the same time, me pushing her up against a tree for better leverage, the spindly branches dumping a pile of snow on us, a stunning, comical moment that only made me more insistent on touching her, touching everything at once, one hand up inside her sweater, the other between her legs. And her letting me.

She pulled back from me, her teeth chattering. “Come up with me.”

I paused.

“Come up with me,” she said again. “I want to be with you.”

The sex wasn’t that great, not the first time. We were two bodies used to different rhythms, never quite getting the hang of each other, and it had been so long since I’d been inside a woman, I came first, quickly, and kept moving, thirty crucial seconds as I began wilting inside her, just long enough to get her taken care of before I went entirely slack.

So it was nice but disappointing, anticlimactic, the way girls must feel when they give up their virginity: That was what all the fuss was about? But I liked how she wrapped herself around me, and I liked that she was as soft as I’d imagined. New skin. Young , I thought disgracefully, picturing Amy and her constant lotioning, sitting in bed and slapping away at herself angrily.

I went into Andie’s bathroom, took a piss, looked at myself in the mirror, and made myself say it: You are a cheater. You have failed one of the most basic male tests. You are not a good man . And when that didn’t bother me, I thought: You’re really not a good man .

The horrifying thing was, if the sex had been outrageously mind-blowing, that might have been my sole indiscretion. But it was only decent, and now I was a cheater, and I couldn’t ruin my record of fidelity on something merely average. So I knew there would be a next. I didn’t promise myself never again. And then the next was very, very good, and the next after that was great. Soon Andie became a physical counterpoint to all things Amy. She laughed with me and made me laugh, she didn’t immediately contradict me or second-guess me. She never scowled at me. She was easy. It was all so fucking easy. And I thought: Love makes you want to be a better man—right, right. But maybe love, real love, also gives you permission to just be the man you are .

I was going to tell Amy. I knew it had to happen. I continued not to tell Amy, for months and months. And then more months. Most of it was cowardice. I couldn’t bear to have the conversation, to have to explain myself. I couldn’t imagine having to discuss the divorce with Rand and Marybeth, as they certainly would insert themselves into the fray. But part of it, in truth, was my strong streak of pragmatism—it was almost grotesque, how practical (self-serving?) I could be. I hadn’t asked Amy for a divorce, in part, because Amy’s money had financed The Bar. She basically owned it, she would certainly take it back. And I couldn’t bear to look at my twin trying to be brave as she lost another couple years of her life. So I let myself drift on in the miserable situation, assuming that at some point Amy would take charge, Amy would demand a divorce, and then I would get to be the good guy.

This desire—to escape the situation without blame—was despicable. The more despicable I became, the more I craved Andie, who knew that I wasn’t as bad as I seemed, if my story were published in the paper for strangers to read. Amy will divorce you , I kept thinking. She can’t let it linger on much longer . But as spring faded away and summer came, then fall, then winter, and I became a cheating man of all seasons—a cheat with a pleasantly impatient mistress—it became clear that something would have to be done.

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