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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The neurotic in me, of course, is asking: Where’s the catch? Nick’s turnaround is so sudden and so grandiose, it feels like … it feels like he must want something. Or he’s already done something and he is being preemptively sweet for when I find out. I worry. I caught him last week shuffling through my thick file box marked THE DUNNES! (written in my best cursive in happier days), a box filled with all the strange paperwork that makes up a marriage, a combined life. I worry that he is going to ask me for a second mortgage on The Bar, or to borrow against our life insurance, or to sell off some not-to-be-touched-for-thirty-years stock. He said he just wanted to make sure everything was in order, but he said it in a fluster. My heart would break, it really would, if, midbite of bubblegum ice cream, he turned to me and said: You know, the interesting thing about a second mortgage is …

I had to write that, I had to let that out. And just seeing it, I know it sounds crazy. Neurotic and insecure and suspicious.

I will not let my worst self ruin my marriage. My husband loves me. He loves me and he has come back to me and that is why he is treating me so nice. That is the only reason.

Just like that: Here is my life. It’s finally returned .

NICK DUNNE

FIVE DAYS GONE

I sat in the billowing heat of my car outside Desi’s house, the windows rolled down, and checked my phone. A message from Gilpin: “Hi, Nick. We need to touch base today, update you on a few things, go over a few questions. Meet us at four at your house, okay? Uh … thanks.”

It was the first time I’d been ordered. Not Could we, we’d love to, if you don’t mind . But We need to. Meet us …

I glanced at my watch. Three o’clock. Best not be late.

The summer air show—a parade of jets and prop planes spinning loops up and down the Mississippi, buzzing the tourist steamboats, rattling teeth—was three days off, and the practice runs were in high gear by the time Gilpin and Rhonda arrived. We were all back in my living room for the first time since The Day Of.

My home was right on a flight path; the noise was somewhere between jackhammer and avalanche. My cop buddies and I tried to jam a conversation in the spaces between the blasts. Rhonda looked more birdlike than usual—favoring one leg, then another, her head moving all around the room as her gaze alighted on different objects, angles—a magpie looking to line her nest. Gilpin hovered next to her, chewing his lip, tapping a foot. Even the room felt restive: The afternoon sun lit up an atomic flurry of dust motes. A jet shot over the house, that awful sky-rip noise.

“Okay, couple of things here,” Rhonda said when the silence returned. She and Gilpin sat down as if they both had suddenly decided to stay awhile. “Some stuff to get clear on, some stuff to tell you. All very routine. And as always, if you want a lawyer—”

But I knew from my TV shows, my movies, that only guilty guys lawyered up. Real, grieving, worried, innocent husbands did not.

“I don’t, thanks,” I said. “I actually have some information to share with you. About Amy’s former stalker, the guy she dated back in high school.”

“Desi—uh, Collins,” began Gilpin.

“Collings. I know you all talked to him, I know you for some reason aren’t that interested in him, so I went to visit him myself today. To make sure he seemed … okay. And I don’t think he is okay. I think he’s someone you all should look into. Really look into. I mean, he moves to St. Louis—”

“He was living in St. Louis three years before you all moved back,” Gilpin said.

“Fine, but he’s in St. Louis. Easy drive. Amy bought a gun because she was afraid—”

“Desi’s okay, Nick. Nice guy,” Rhonda said. “Don’t you think? He reminds me of you, actually. Real golden boy, baby of the family.”

“I’m a twin. Not the baby. I’m actually three minutes older.”

Rhonda was clearly trying to nip at me, see if she could get a rise, but even knowing this didn’t prevent the angry blood flush to my stomach every time she accused me of being a baby.

“Anyway,” Gilpin interrupted. “Both he and his mother deny that he ever stalked Amy, or that he even had much contact with her these past years except the occasional note.”

“My wife would tell you differently. He wrote Amy for years— years —and then he shows up here for the search, Rhonda. Did you know that? He was here that first day. You talked about keeping an eye out for men inserting themselves into the investigation—”

“Desi Collings is not a suspect,” she interrupted, one hand up.

“But—”

“Desi Collings is not a suspect,” she repeated.

The news stung. I wanted to accuse her of being swayed by Ellen Abbott , but Ellen Abbott was probably best left unmentioned.

“Okay, well what about all these, these guys who’ve clogged up our tip line?” I walked over and grabbed the sheet of names and numbers that I’d carelessly tossed on the dining room table. I began reading names. “Inserting themselves into the investigation: David Samson, Murphy Clark—those are old boyfriends—Tommy O’Hara, Tommy O’Hara, Tommy O’Hara, that’s three calls, Tito Puente—that’s just a dumb joke.”

“Have you phoned any of them back?” Boney asked.

“No. Isn’t that your job? I don’t know which are worthwhile and which are crazies. I don’t have time to call some jackass pretending to be Tito Puente.”

“I wouldn’t put too much emphasis on the tip line, Nick,” Rhonda said. “It’s kind of a woodwork situation. I mean, we’ve fielded a lot of phone calls from your old girlfriends . Just want to say hi. See how you are. People are strange.”

“Maybe we should get started on our questions,” Gilpin nudged.

“Right. Well, I guess we should begin with where you were the morning your wife went missing,” Boney said, suddenly apologetic, deferential. She was playing good cop, and we both knew she was playing good cop. Unless she was actually on my side. It seemed possible that sometimes a cop was just on your side. Right?

“When I was at the beach .”

“And you still can’t recall anyone seeing you there?” Boney asked. “It’d help us so much if we could just cross this little thing off our list.” She allowed a sympathetic silence. Rhonda could not only keep quiet, she could infuse the room with a mood of her choosing, like an octopus and its ink.

“Believe me, I’d like that as much as you. But no. I don’t remember anyone.”

Boney smiled a worried smile. “It’s strange, we’ve mentioned—just in passing—your being at the beach to a few people, and they all said … They were all surprised, let’s put it that way. Said that didn’t sound like you. You aren’t a beach guy.”

I shrugged. “I mean, do I go to the beach and lay out all day? No. But to sip my coffee in the morning? Sure.”

“Hey, this might help,” Boney said brightly. “Where’d you buy your coffee that morning?” She turned to Gilpin as if to seek approval. “Could tighten the time frame at least, right?”

“I made it here,” I said.

“Oh.” She frowned. “That’s weird, because you don’t have any coffee here. Nowhere in the house. I remember thinking it was odd. A caffeine addict notices these things.”

Right, just something you happened to notice , I thought. I knew a cop named Bony Moronie … Her traps are so obvious, they’re clearly phony …

“I had a leftover cup in the fridge I heated up.” I shrugged again: No big deal .

“Huh. Must have been there a long time—I noticed there’s no coffee container in the trash.”

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