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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“Few days. Still tastes good.”

We both smiled at each other: I know and you know. Game on . I actually thought those idiotic words: Game on . Yet I was pleased in a way: The next part was starting.

Boney turned to Gilpin, hands on knees, and gave a little nod. Gilpin chewed his lip some more, then finally pointed: toward the ottoman, the end table, the living room now righted. “See, here’s our problem, Nick,” he started. “We’ve seen dozens of home invasions—”

“Dozens upon dozens upon dozens,” Boney interrupted.

“Many home invasions. This—all this area right there, in the living room—remember it? The upturned ottoman, the overturned table, the vase on the floor”—he slapped down a photo of the scene in front of me—“this whole area, it was supposed to look like a struggle, right?”

My head expanded and snapped back into place. Stay calm . “Supposed to?”

“It looked wrong,” Gilpin continued. “From the second we saw it. To be honest, the whole thing looked staged. First of all, there’s the fact that it was all centered in this one spot. Why wasn’t anything messed up anywhere but this room? It’s odd.” He proffered another photo, a close-up. “And look here, at this pile of books. They should be in front of the end table—the end table is where they were stacked, right?”

I nodded.

“So when the end table was knocked over, they should have spilled mostly in front of it, following the trajectory of the falling table. Instead, they’re back behind it, as if someone swept them off before knocking over the table.”

I stared dumbly at the photo.

“And watch this. This is very curious to me,” Gilpin continued. He pointed at three slender antique frames on the mantelpiece. He stomped heavily, and they all flopped facedown immediately. “But somehow they stayed upright through everything else.”

He showed a photo of the frames upright. I had been hoping—even after they caught my Houston’s dinner slipup—that they were dumb cops, cops from the movies, local rubes aiming to please, trusting the local guy: Whatever you say, buddy . I didn’t get dumb cops.

“I don’t know what you want me to say,” I mumbled. “It’s totally— I just don’t know what to think about this. I just want to find my wife.”

“So do we, Nick, so do we,” Rhonda said. “But here’s another thing. The ottoman—remember how it was flipped upside down?” She patted the squatty ottoman, pointed at its four peg legs, each only an inch high. “See, this thing is bottom-heavy because of those tiny legs. The cushion practically sits on the floor. Try to push it over.” I hesitated. “Go on, try it,” Boney urged.

I gave it a push, but it slid across the carpet instead of turning over. I nodded. I agreed. It was bottom-heavy.

“Seriously, get down there if you need to, and knock that thing upside down,” Boney ordered.

I knelt down, pushed from lower and lower angles, finally put a hand underneath the ottoman, and flipped it. Even then it lifted up, one side hovering, and fell back into place; I finally had to pick it up and turn it over manually.

“Weird, huh?” Boney said, not sounding all that puzzled.

“Nick, you do any housecleaning the day your wife went missing?” Gilpin asked.

“No.”

“Okay, because the tech did a Luminol sweep, and I’m sorry to tell you, the kitchen floor lit up. A good amount of blood was spilled there.”

“Amy’s type —B positive .” Boney interrupted, “And I’m not talking a little cut, I’m talking blood .”

“Oh my God.” A clot of heat appeared in the middle of my chest. “But—”

“Yes, so your wife made it out of this room,” Gilpin said. “Somehow, in theory, she made it into the kitchen—without disturbing any of those gewgaws on that table just outside the kitchen—and then she collapsed in the kitchen, where she lost a lot of blood.”

“And then someone carefully mopped it up,” Rhonda said, watching me.

“Wait. Wait. Why would someone try to hide blood but then mess up the living room—”

“We’ll figure that out, don’t worry, Nick,” Rhonda said quietly.

“I don’t get it, I just don’t—”

“Let’s sit down,” Boney said. She pointed me toward a dining room chair. “You eat anything yet? Want a sandwich, something?”

I shook my head. Boney was taking turns playing different female characters: powerful woman, doting caregiver, to see what got the best results.

“How’s your marriage, Nick?” Rhonda asked. “I mean, five years, that’s not far from the seven-year itch.”

“The marriage was fine,” I repeated. “It’s fine. Not perfect, but good, good.”

She wrinkled her nose: You lie .

“You think she might have run off?” I asked, too hopefully. “Made this look like a crime scene and took off? Runaway-wife thing?”

Boney began ticking off reasons no: “She hasn’t used her cell, she hasn’t used her credit cards, ATM cards. She made no major cash withdrawals in the weeks before.”

“And there’s the blood,” Gilpin added. “I mean, again, I don’t want to sound harsh, but the amount of blood spilled? That would take some serious … I mean, I couldn’t have done it to myself. I’m talking some deep wounds there. Your wife got nerves of steel?”

“Yes. She does.” She also had a deep phobia of blood, but I’d wait and let the brilliant detectives figure that out.

“It seems extremely unlikely,” Gilpin said. “If she were to wound herself that seriously, why would she mop it up?”

“So really, let’s be honest, Nick,” Boney said, leaning over on her knees so she could make eye contact with me as I stared at the floor. “How was your marriage currently? We’re on your side, but we need the truth. The only thing that makes you look bad is you holding out on us.”

“We’ve had bumps.” I saw Amy in the bedroom that last night, her face mottled with the red hivey splotches she got when she was angry. She was spitting out the words—mean, wild words—and I was listening to her, trying to accept the words because they were true, they were technically true, everything she said.

“Describe the bumps for us,” Boney said.

“Nothing specific, just disagreements. I mean, Amy is a blow-stack. She bottles up a bunch of little stuff and—whoom!—but then it’s over. We never went to bed angry.”

“Not Wednesday night?” Boney asked.

“Never,” I lied.

“Is it money, what you mostly argue about?”

“I can’t even think what we’d argue about. Just stuff.”

“What stuff was it the night she went missing?” Gilpin said it with a sideways grin, like he’d uttered the most unbelievable gotcha .

“Like I told you, there was the lobster.”

“What else? I’m sure you didn’t scream about the lobster for a whole hour.”

At that point Bleecker waddled partway down the stairs and peered through the railings.

“Other household stuff too. Married-couple stuff. The cat box,” I said. “Who would clean the cat box.”

“You were in a screaming argument about a cat box,” Boney said.

“You know, the principle of the thing. I work a lot of hours, and Amy doesn’t, and I think it would be good for her if she did some basic home maintenance. Just basic upkeep.”

Gilpin jolted like an invalid woken from an afternoon nap. “You’re an old-fashioned guy, right? I’m the same way. I tell my wife all the time, ‘I don’t know how to iron, I don’t know how to do the dishes. I can’t cook. So, sweetheart, I’ll catch the bad guys, that I can do, and you throw some clothes in the washer now and then.’ Rhonda, you were married, did you do the domestic stuff at home?”

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