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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As I rolled into his neighborhood, I had to change my Desi vision from rich to extremely, sickly wealthy. The guy lived in a mansion in Ladue that probably cost at least $5 million. Whitewashed brick, black lacquer shutters, gaslight, and ivy. I’d dressed for the meeting, a decent suit and tie, but I realized as I rang his doorbell that a four-hundred-dollar suit in this neighborhood was more poignant than if I’d shown up in jeans. I could hear a clattering of dress shoes coming from the back of the house to the front, and the door opened with a desuctioning sound, like a refrigerator. Cold air rolled out toward me.

Desi looked the way I had always wanted to look: like a very handsome, very decent fellow. Something in the eyes, or the jaw. He had deep-set almond eyes, teddy-bear eyes, and dimples in both cheeks. If you saw the two of us together, you’d assume he was the good guy.

“Oh,” Desi said, studying my face. “You’re Nick. Nick Dunne. Good God, I’m so sorry about Amy. Come in, come in.”

He ushered me into a severe living room, manliness as envisioned by a decorator. Lots of dark, uncomfortable leather. He pointed me toward an armchair with a particularly rigid back; I tried to make myself comfortable, as urged, but found the only posture the chair allowed was that of a chastised student: Pay attention and sit up.

Desi didn’t ask me why I was in his living room. Or explain how he’d immediately recognized me. Although they were becoming more common, the double takes and cupped whispers.

“May I get you a drink?” Desi asked, pressing two hands together: business first.

“I’m fine.”

He sat down opposite me. He was dressed in impeccable shades of navy and cream; even his shoelaces looked pressed. He carried it all off, though. He wasn’t the dismissible fop I’d been hoping for. Desi seemed the definition of a gentleman: a guy who could quote a great poet, order a rare Scotch, and buy a woman the right piece of vintage jewelry. He seemed, in fact, a man who knew inherently what women wanted—across from him, I felt my suit wilt, my manner go clumsy. I had a swelling urge to discuss football and fart. These were the kinds of guys who always got to me.

“Amy. Any leads?” Desi asked.

He looked like someone familiar, an actor, maybe.

“No good ones.”

“She was taken … from the home. Is that correct?”

“From our home, yes.”

Then I knew who he was: He was the guy who’d shown up alone the first day of searches, the guy who kept sneaking looks at Amy’s photo.

“You were at the volunteer center, weren’t you? The first day.”

“I was,” Desi said, reasonable. “I was about to say that. I wish I’d been able to meet you that day, express my condolences.”

“Long way to come.”

“I could say the same to you.” He smiled. “Look, I’m really fond of Amy. Hearing what had happened, well, I had to do something. I just—It’s terrible to say this, Nick, but when I saw it on the news, I just thought, Of course .”

“Of course?”

“Of course someone would … want her,” he said. He had a deep voice, a fireside voice. “You know, she always had that way. Of making people want her. Always. You know that old cliché: Men want her, and women want to be her. With Amy, that was true.”

Desi folded large hands across his trousers. Not pants, trousers. I couldn’t decide if he was fucking with me. I told myself to tread lightly. It’s the rule of all potentially prickly interviews: Don’t go on the offense until you have to, first see if they’ll hang themselves all on their own.

“You had a very intense relationship with Amy, right?” I asked.

“It wasn’t only her looks,” Desi said. He leaned on a knee, his eyes distant. “I’ve thought about this a lot, of course. First love. I’ve definitely thought about it. The navel-gazer in me. Too much philosophy.” He cracked a self-effacing grin. The dimples popped. “See, when Amy likes you, when she’s interested in you, her attention is so warm and reassuring and entirely enveloping. Like a warm bath.”

I raised my eyebrows.

“Bear with me,” he said. “You feel good about yourself. Completely good, for maybe the first time. And then she sees your flaws, she realizes you’re just another regular person she has to deal with—you are, in actuality, Able Andy, and in real life, Able Andy would never make it with Amazing Amy. So her interest fades, and you stop feeling good, you can feel that old coldness again, like you’re naked on the bathroom floor, and all you want is to get back in the bath.”

I knew that feeling—I’d been on the bathroom floor for about three years—and I felt a rush of disgust for sharing this emotion with this other man.

“I’m sure you know what I mean,” Desi said, and smiled winkily at me.

What an odd man , I thought. Who compares another man’s wife to a bath he wants to sink into? Another man’s missing wife?

Behind Desi was a long, polished end table bearing several silver-framed photos. In the center was an oversize one of Desi and Amy back in high school, in tennis whites—the two so preposterously stylish, so monied-lush they could have been a frame from a Hitchcock movie. I pictured Desi, teenage Desi, slipping into Amy’s dorm room, dropping his clothes to the floor, settling onto the cold sheets, swallowing plastic-coated pills. Waiting to be found. It was a form of punishment, of rage, but not the kind that occurred in my house. I could see why the police weren’t that interested. Desi trailed my glance.

“Oh, well, you can’t blame me for that.” He smiled. “I mean, would you throw away a photo that perfect?”

“Of a girl I hadn’t known for twenty years?” I said before I could stop. I realized my tone sounded more aggressive than was wise.

“I know Amy,” Desi snapped. He took a breath. “I knew her. I knew her very well. There aren’t any leads? I have to ask … Her father, is he … there?”

“Of course he is.”

“I don’t suppose … He was definitely in New York when it happened?”

“He was in New York. Why?”

Desi shrugged: Just curious, no reason . We sat in silence for a half minute, playing a game of eye-contact chicken. Neither of us blinked.

“I actually came here, Desi, to see what you could tell me.”

I tried again to picture Desi making off with Amy. Did he have a lake house somewhere nearby? All these types did. Would it be believable, this refined, sophisticated man keeping Amy in some preppy basement rec room, Amy pacing the carpet, sleeping on a dusty sofa in some bright, clubby ’60s color, lemon yellow or coral. I wished Boney and Gilpin were here, had witnessed the proprietary tone of Desi’s voice: I know Amy .

“Me?” Desi laughed. He laughed richly . The perfect phrase to describe the sound. “I can’t tell you anything. Like you said, I don’t know her.”

“But you just said you did.”

“I certainly don’t know her like you know her.”

“You stalked her in high school.”

“I stalked her? Nick. She was my girlfriend.”

“Until she wasn’t,” I said. “And you wouldn’t go away.”

“Oh, I probably did pine for her. But nothing out of the ordinary.”

“You call trying to kill yourself in her dorm room ordinary?”

He jerked his head, squinted his eyes. He opened his mouth to speak, then stared down at his hands. “I’m not sure what you’re talking about, Nick,” he finally said.

“I’m talking about you stalking my wife. In high school. Now.”

“That’s really what this is about?” He laughed again. “Good God, I thought you were raising money for a reward fund or something. Which I’m happy to cover, by the way. Like I said, I’ve never stopped wanting the best for Amy. Do I love her? No. I don’t know her anymore, not really. We exchange the occasional letter. But it is interesting, you coming here. You confusing the issue. Because I have to tell you, Nick, on TV, hell, here , now, you don’t seem to be a grieving, worried husband. You seem … smug. The police, by the way, already talked with me, thanks, I guess to you. Or Amy’s parents. Strange you didn’t know—you’d think they’d tell the husband everything if he were in the clear.”

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