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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Boney looked believably annoyed. “I catch bad guys too, idiot.”

Gilpin rolled his eyes toward me; I almost expected him to make a joke —sounds like someone’s on the rag —the guy was laying it on so thick.

Gilpin rubbed his vulpine jaw. “So you just wanted a housewife,” he said to me, making the proposition seem reasonable.

“I wanted—I wanted whatever Amy wanted. I really didn’t care.” I appealed to Boney now, Detective Rhonda Boney with the sympathetic air that seemed at least partly authentic. ( It’s not , I reminded myself.) “Amy couldn’t decide what to do here. She couldn’t find a job, and she wasn’t interested in The Bar. Which is fine, if you want to stay home, that’s fine, I said. But when she stayed home, she was unhappy too. And she’d wait for me to fix it. It was like I was in charge of her happiness.”

Boney said nothing, gave me a face expressionless as water.

“And, I mean, it’s fun to be hero for a while, be the white knight, but it doesn’t really work for long. I couldn’t make her be happy. She didn’t want to be happy. So I thought if she started taking charge of a few practical things—”

“Like the cat box,” said Boney.

“Yeah, clean the cat box, get some groceries, call a plumber to fix the drip that drove her crazy.”

“Wow, that sounds like a real happiness plan there. Lotta yuks.”

“But my point was, do something . Whatever it is, do something. Make the most of the situation. Don’t sit and wait for me to fix everything for you.” I was speaking loudly, I realized, and I sounded almost angry, certainly righteous, but it was such a relief. I’d started with a lie—the cat box—and turned that into a surprising burst of pure truth, and I realized why criminals talked too much, because it feels so good to tell your story to a stranger, someone who won’t call bullshit, someone forced to listen to your side. (Someone pretending to listen to your side, I corrected.)

“So the move back to Missouri?” Boney said. “You moved Amy here against her wishes?”

Against her wishes? No. We did what we had to do. I had no job, Amy had no job, my mom was sick. I’d do the same for Amy.”

“That’s nice of you to say ,” Boney muttered. And suddenly she reminded me exactly of Amy: the damning below-breath retorts uttered at the perfect level, so I was pretty sure I heard them but couldn’t swear to it. And if I asked what I was supposed to ask— What did you say ?—she’d always say the same: Nothing . I glared at Boney, my mouth tight, and then I thought: Maybe this is part of the plan, to see how you act toward angry, dissatisfied women . I tried to make myself smile, but it only seemed to repulse her more.

“And you’re able to afford this, Amy working, not working, whatever, you could swing it financially?” Gilpin asked.

“We’ve had some money problems of late,” I said. “When we first married, Amy was wealthy, like extremely wealthy.”

“Right,” said Boney, “those Amazing Amy books.”

“Yeah, they made a ton of money in the eighties and nineties. But the publisher dropped them. Said Amy had run her course. And everything went south. Amy’s parents had to borrow money from us to stay afloat.”

“From your wife, you mean?”

“Right, fine. And then we used most of the last of Amy’s trust fund to buy the bar, and I’ve been supporting us since.”

“So when you married Amy, she was very wealthy,” Gilpin said. I nodded. I was thinking of the hero narrative: the husband who sticks by his wife through the horrible decline in her family’s circumstances.

“So you had a very nice lifestyle.”

“Yeah, it was great, it was awesome.”

“And now she’s near broke, and you’re dealing with a very different lifestyle than what you married into. What you signed on for.”

I realized my narrative was completely wrong.

“Because, okay, we’ve been going over your finances, Nick, and dang, they don’t look good,” Gilpin started, almost turning the accusation into a concern, a worry.

“The Bar is doing decent,” I said. “It usually takes a new business three or four years to get out of the red.”

“It’s those credit cards that got my attention,” Boney said. “Two hundred and twelve thousand dollars in credit-card debt. I mean, it took my breath away.” She fanned a stack of red-ink statements at me.

My parents were fanatics about credit cards—used only for special purposes, paid off every month. We don’t buy what we can’t pay for . It was the Dunne family motto.

“We don’t—I don’t, at least—but I don’t think Amy would—Can I see those?” I stuttered, just as a low-flying bomber rattled the windowpanes. A plant on the mantel promptly lost five pretty purple leaves. Forced into silence for ten brain-shaking seconds, we all watched the leaves flutter to the ground.

“Yet this great brawl we’re supposed to believe happened in here, and not a petal was on the floor then,” Gilpin muttered disgustedly.

I took the papers from Boney and saw my name, only my name, versions of it—Nick Dunne, Lance Dunne, Lance N. Dunne, Lance Nicholas Dunne, on a dozen different credit cards, balances from $62.78 to $45,602.33, all in various states of lateness, terse threats printed in ominous lettering across the top: pay now.

“Holy fuck! This is, like, identity theft or something!” I said. “They’re not mine. I mean, freakin’ look at some of this stuff: I don’t even golf.” Someone had paid over seven thousand dollars for a set of clubs. “Anyone can tell you: I really don’t golf.” I tried to make it sound self-effacing —yet another thing I’m not good at— but the detectives weren’t biting.

“You know Noelle Hawthorne?” Boney asked. “The friend of Amy’s you told us to check out?”

“Wait, I want to talk about the bills, because they are not mine,” I said. “I mean, please, seriously, we need to track this down.”

“We’ll track it down, no problem,” Boney said, expressionless. “Noelle Hawthorne?”

“Right. I told you to check her out because she’s been all over town, wailing about Amy.”

Boney arched an eyebrow. “You seem angry about that.”

“No, like I told you, she seems a little too broken up, like in a fake way. Ostentatious. Attention-seeking. A little obsessed.”

“We talked to Noelle,” Boney said. “Says your wife was extremely troubled by the marriage, was upset about the money stuff, that she worried you’d married her for her money. She says your wife worried about your temper.”

“I don’t know why Noelle would say that; I don’t think she and Amy ever exchanged more than five words.”

“That’s funny, because the Hawthornes’ living room is covered with photos of Noelle and your wife.” Boney frowned. I frowned too: actual real pictures of her and Amy?

Boney continued: “At the St. Louis zoo last October, on a picnic with the triplets, on a weekend float trip this past June. As in last month .”

“Amy has never uttered the name Noelle in the entire time we’ve lived here. I’m serious.” I scanned my brain over this past June and came upon a weekend I went away with Andie, told Amy I was doing a boys’ trip to St. Louis. I’d returned home to find her pink-cheeked and angry, claiming a weekend of bad cable and bored reading on the dock. And she was on a float trip? No. I couldn’t think of anything Amy would care for less than the typical midwestern float trip: beers bobbing in coolers tied to canoes, loud music, drunk frat boys, campgrounds dotted with vomit. “Are you sure it was my wife in those photos?”

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