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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“I mean, I love you, Nick,” Andie said, here, surreally, on my sister’s sofa. “No matter what happens. I don’t really know what else to say, I feel pretty …” She threw her hands up. “Stupid.”

“Don’t feel stupid,” I said. “I don’t know what to say either. There’s nothing to say.”

“You can say that you love me no matter what happens.”

I thought: I can’t say that out loud anymore . I’d said it once or twice, a spitty mumble against her neck, homesick for something. But the words were out there, and so was a lot more. I thought then of the trail we’d left, our busy, semi-hidden love affair that I hadn’t worried enough about. If her building had a security camera, I was on it. I’d bought a disposable phone just for her calls, but those voice mails and texts went to her very permanent cell. I’d written her a dirty valentine that I could already see splashed across the news, me rhyming besot with twat . And more: Andie was twenty-three. I assumed my words, my voice, even photos of me were captured on various electronica. I’d flipped through the photos on her phone one night, jealous, possessive, curious, and seen plenty of shots of an ex or two smiling proudly in her bed, and I assumed at one point I’d join the club—I kind of wanted to join the club—and for some reason that hadn’t worried me, even though it could be downloaded and sent to a million people in the space of a vengeful second.

“This is an extremely weird situation, Andie. I just need you to be patient.”

She pulled back from me. “You can’t say you love me, no matter what happens?”

“I love you, Andie. I do.” I held her eyes. Saying I love you was dangerous right now, but so was not saying it.

“Fuck me, then,” she whispered. She began tugging at my belt.

“We have to be real careful right now. I … It’s a bad, bad place for me if the police find out about us. It looks beyond bad.”

“That’s what you’re worried about?”

“I’m a man with a missing wife and a secret … girlfriend. Yeah, it looks bad. It looks criminal.”

“That makes it sound sleazy.” Her breasts were still out.

“People don’t know us, Andie. They will think it’s sleazy.”

“God, it’s like some bad noir movie.”

I smiled. I’d introduced Andie to noir—to Bogart and The Big Sleep , Double Indemnity , all the classics. It was one of the things I liked best about us, that I could show her things.

“Why don’t we just tell the police?” she said. “Wouldn’t that be better—”

“No. Andie, don’t even think about it. No.”

“They’re going to find out—”

“Why? Why would they? Have you told anyone about us, sweetheart?”

She gave me a twitchy look. I felt bad: This was not how she thought the night would go. She had been excited to see me, she had been imagining a lusty reunion, physical reassurance, and I was busy covering my ass.

“Sweetheart, I’m sorry, I just need to know,” I said.

“Not by name.”

“What do you mean, not by name?”

“I mean,” she said, pulling up her dress finally, “my friends, my mom, they know I’m seeing someone, but not by name.”

“And not by any kind of description, right?” I said it more urgently than I wanted to, feeling like I was holding up a collapsing ceiling. “Two people know about this, Andie. You and me. If you help me, if you love me, it will just be us knowing, and then the police will never find out.”

She traced a finger along my jawline. “And what if—if they never find Amy?”

“You and I, Andie, we’ll be together no matter what happens. But only if we’re careful. If we’re not careful, it’s possible— It looks bad enough that I could go to prison.”

“Maybe she ran off with someone,” she said, leaning her cheek against my shoulder. “Maybe—”

I could feel her girl-brain buzzing, turning Amy’s disappearance into a frothy, scandalous romance, ignoring any reality that didn’t suit the narrative.

“She didn’t run off. It’s much more serious than that.” I put a finger under her chin so she looked at me. “Andie? I need you to take this very seriously, okay?”

“Of course I’m taking it seriously. But I need to be able to talk to you more often. To see you. I’m freaking out, Nick.”

“We just need to sit tight for now.” I gripped both her shoulders so she had to look at me. “My wife is missing, Andie.”

“But you don’t even—”

I knew what she was about to say —you don’t even love her— but she was smart enough to stop.

She put her arms around me. “Look, I don’t want to fight. I know you care about Amy, and I know you must be really worried. I am too. I know you are under … I can’t imagine the pressure. So I’m fine keeping an even lower profile than I did before, if that’s possible. But remember, this affects me too. I need to hear from you. Once a day. Just call when you can, even if it’s only for a few seconds, so I can hear your voice. Once a day, Nick. Every single day. I’ll go crazy otherwise. I’ll go crazy.”

She smiled at me, whispered, “Now kiss me.”

I kissed her very softly.

“I love you,” she said, and I kissed her neck and mumbled my reply. We sat in silence, the TV flickering.

I let my eyes close. Now kiss me , who had said that?

I lurched awake just after five A.M. Go was up, I could hear her down the hall, running water in the bathroom. I shook Andie— It’s five A.M., it’s five A.M .—and with promises of love and phone calls, I hustled her toward the door like a shameful one-nighter.

“Remember, call every day,” Andie whispered.

I heard the bathroom door open.

“Every day,” I said, and ducked behind the door as I opened it and Andie left.

When I turned back around, Go was standing in the living room. Her mouth had dropped open, stunned, but the rest of her body was in full fury: hands on hips, eyebrows V’ed.

“Nick. You fucking idiot.”

AMY ELLIOTT DUNNE

JULY 21, 2011

DIARY ENTRY

I am such an idiot. Sometimes I look at myself and I think: No wonder Nick finds me ridiculous, frivolous, spoiled, compared to his mom . Maureen is dying. She hides her disease behind big smiles and roomy embroidered sweatshirts, answering every question about her health with: “Oh, I’m just fine, but how are you doing, sweetie?” She is dying, but she is not going to admit it, not yet. So yesterday she phones me in the morning, asks me if I want to go on a field trip with her and her friends—she is having a good day, she wants to get out of the house as much as she can—and I agree immediately, even though I knew they’d be doing nothing that particularly interested me: pinochle, bridge, some church activity that usually requires sorting things.

“We’ll be there in fifteen minutes,” she says. “Wear short sleeves.”

Cleaning. It had to be cleaning. Something requiring elbow grease. I throw on a short-sleeve shirt, and in exactly fifteen minutes, I am opening the door to Maureen, bald under a knitted cap, giggling with her two friends. They are all wearing matching appliquéd T-shirts, all bells and ribbons, with the words The PlasMamas airbrushed across their chests.

I think they’ve started a do-wop group. But then we all climb into Rose’s old Chrysler —old -old, one of those where the front seat goes all the way across, a grandmotherly car that smells of lady cigarettes—and off we merrily go to the plasma donation center .

“We’re Mondays and Thursdays,” Rose explains, looking at me in the rearview.

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