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,” I say. How else does one reply? Oh, those are awesome plasma days!

“You’re allowed to give twice a week,” says Maureen, the bells on her sweatshirt jingling. “The first time you get twenty dollars, the second time you get thirty. That’s why everyone’s in such a good mood today.”

“You’ll love it,” Vicky says. “Everyone just sits and chats, like a beauty salon.”

Maureen squeezes my arm and says quietly, “I can’t give anymore, but I thought you could be my proxy. It might be a nice way for you to get some pin money—it’s good for a girl to have a little cash of her own.”

I swallow a quick gust of anger: I used to have more than a little cash of my own, but I gave it to your son .

A scrawny man in an undersize jean jacket hangs around the parking lot like a stray dog. Inside, though, the place is clean. Well lit, piney-smelling, with Christian posters on the wall, all doves and mist. But I know I can’t do it. Needles. Blood. I can’t do either. I don’t really have any other phobias, but those two are solid—I am the girl who swoons at a paper cut. Something about the opening of skin: peeling, slicing, piercing. During chemo with Maureen, I never looked when they put in the needle.

“Hi, Cayleese!” Maureen calls out as we enter, and a heavy black woman in a vaguely medical uniform calls back, “Hi there, Maureen! How you feeling?”

“Oh, I’m fine, just fine—but how are you?”

“How long have you been doing this?” I ask.

“Awhile,” Maureen says. “Cayleese is everyone’s favorite, she gets the needle in real smooth. Which was always good for me, because I have rollers.” She proffers her forearm with its ropey blue veins. When I first met Mo, she was fat, but no more. It’s odd, she actually looks better fat. “See, try to put your finger on one.”

I look around, hoping Cayleese is going to usher us in.

“Go on, try.”

I touch a fingertip to the vein and feel it roll out from under. A rush of heat overtakes me.

“So, is this our new recruit?” Cayleese asks, suddenly beside me. “Maureen brags on you all the time. So, we’ll need you to fill out some paperwork—”

“I’m sorry, I can’t. I can’t do needles, I can’t do blood. I have a serious phobia. I literally can’t do it.”

I realize I haven’t eaten today, and a wave of wooziness hits me. My neck feels weak.

“Everything here is very hygienic, you’re in very good hands,” Cayleese says.

“No, it’s not that, truly. I’ve never given blood. My doctor gets angry at me because I can’t even handle a yearly blood test for, like, cholesterol.”

Instead, we wait. It takes two hours, Vicky and Rose strapped to churning machines. Like they are being harvested. They’ve even been branded on their fingers, so they can’t give more than twice in a week anywhere—the marks show up under a purple light.

“That’s the James Bond part,” Vicky says, and they all giggle. Maureen hums the Bond theme song (I think), and Rose makes a gun with her fingers.

“Can’t you old biddies keep it down for once?” calls a white-haired woman four chairs down. She leans up over the reclined bodies of three oily men—green-blue tattoos on their arms, stubble on their chins, the kind of men I pictured donating plasma—and gives a finger wave with her loose arm.

“Mary! I thought you were coming tomorrow!”

“I was, but my unemployment doesn’t come for a week, and I was down to a box of cereal and a can of creamed corn!”

They all laugh like near-starvation is amusing—this town is sometimes too much, so desperate and so in denial. I begin to feel ill, the sound of blood churning, the long plastic ribbons of blood coursing from bodies to machines, the people being, what, being farmed . Blood everywhere I look, out in the open, where blood isn’t supposed to be. Deep and dark, almost purple.

I get up to go to the bathroom, throw cold water on my face. I take two steps and my ears close up, my vision pinholes, I feel my own heartbeat, my own blood, and as I fall, I say, “Oh. Sorry.”

I barely remember the ride home. Maureen tucks me into bed, a glass of apple juice, a bowl of soup, at the bedside. We try to call Nick. Go says he’s not at The Bar, and he doesn’t pick up his cell.

The man disappears.

“He was like that as a boy too—he’s a wanderer,” Maureen says. “Worst thing you could ever do is ground him to his room.” She positions a cool washcloth on my forehead; her breath has the tangy smell of aspirin. “Your job is to rest, okay? I’ll keep calling till I get that boy home.”

When Nick gets home, I’m asleep. I wake up to hear him taking a shower, and I check the time: 11:04 P.M. He must have gone by The Bar after all—he likes to shower after a shift, get the beer and salty popcorn smell off his skin. (He says.)

He slips into bed, and when I turn to him with open eyes, he looks dismayed I’m awake.

“We’ve been trying to reach you for hours,” I say.

“My phone was out of juice. You fainted?”

“I thought you said your phone was out of juice.”

He pauses, and I know he is about to lie. The worst feeling: when you just have to wait and prepare yourself for the lie. Nick is old-fashioned, he needs his freedom, he doesn’t like to explain himself. He’ll know he has plans with the guys for a week, and he’ll still wait until an hour before the poker game to tell me nonchalantly, “Hey, so I thought I’d join the guys for poker tonight, if that’s okay with you,” and leave me to be the bad guy if I’ve made other plans. You don’t ever want to be the wife who keeps her husband from playing poker—you don’t want to be the shrew with the hair curlers and the rolling pin. So you swallow your disappointment and say okay. I don’t think he does this to be mean, it’s just how he was raised. His dad did his own thing, always, and his mom put up with it. Until she divorced him.

He begins his lie. I don’t even listen.

NICK DUNNE

FIVE DAYS GONE

I leaned against the door, staring at my sister. I could still smell Andie, and I wanted that moment to myself for one second, because now that she was gone, I could enjoy the idea of her. She always tasted like butterscotch and smelled like lavender. Lavender shampoo, lavender lotion. Lavender’s for luck , she explained to me once. I’d need luck.

“How old is she?” Go was demanding, hands on hips.

“That’s where you want to start?”

“How old is she, Nick?”

“Twenty-three.”

“Twenty-three. Brilliant.”

“Go, don’t—”

“Nick. Do you not realize how fucked you are?” Go said. “Fucked and dumb .” She made dumb —a kid’s word—hit me as hard as if I were a ten-year-old again.

“It’s not an ideal situation,” I allowed, my voice quiet.

“Ideal situation! You are … you’re a cheater , Nick. I mean, what happened to you? You were always one of the good guys. Or have I just been an idiot all along?”

“No.” I stared at the floor, at the same spot I stared at as a kid when my mom sat me down on the sofa and told me I was better than whatever I’d just done.

“Now? You’re a man who cheats on his wife , you can’t ever undo that,” Go said. “God, even Dad didn’t cheat. You’re so—I mean, your wife is missing, Amy’s who knows where, and you’re here making time with a little—”

“Go, I enjoy this revisionist history in which you’re Amy’s champion. I mean, you never liked Amy, not even early on, and since all this happened, it’s like—”

“It’s like I have sympathy for your missing wife, yeah, Nick. I have concern. Yeah, I do. Remember how before, when I said you were being weird? You’re—It’s insane, the way you’re acting.”

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