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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They gave each other a he serious? look.

“Nick,” Boney said. “We have no reason to believe that the woman in the photos who looks exactly like your wife and who Noelle Hawthorne, a mother of three, your wife’s best friend here in town, says is your wife, is not your wife.”

“Your wife who—I should say—according to Noelle, you married for money,” Gilpin added.

“I’m not joking,” I said. “Anyone these days can doctor photos on a laptop.”

“Okay, so a minute ago you were sure Desi Collings was involved, and now you’ve moved on to Noelle Hawthorne,” Gilpin said. “It seems like you’re really casting about for someone to blame.”

“Besides me? Yes, I am. Look, I did not marry Amy for her money. You really should talk more with Amy’s parents. They know me, they know my character.” They don’t know everything , I thought, my stomach seizing. Boney was watching me; she looked sort of sorry for me. Gilpin didn’t even seem to be listening.

“You bumped up the life insurance coverage on your wife to one-point-two million,” Gilpin said with mock weariness. He even pulled a hand over his long, thin-jawed face.

“Amy did that herself!” I said quickly. The cops both just looked at me and waited. “I mean, I filed the paperwork, but it was Amy’s idea. She insisted. I swear, I couldn’t care less, but Amy said—she said, given the change in her income, it made her feel more secure or something, or it was a smart business decision. Fuck, I don’t know, I don’t know why she wanted it. I didn’t ask her to.”

“Two months ago, someone did a search on your laptop,” Boney continued. “ Body Float Mississippi River . Can you explain that?”

I took two deep breaths, nine seconds to pull myself together.

“God, that was just a dumb book idea,” I said. “I was thinking about writing a book.”

“Hunh,” Boney replied.

“Look, here’s what I think is happening,” I began. “I think a lot of people watch these news programs where the husband is always this awful guy who kills his wife, and they are seeing me through that lens, and some really innocent, normal things are being twisted. This is turning into a witch hunt.”

“That’s how you explain those credit-card bills?” Gilpin asked.

“I told you, I can’t explain the fucking credit-card bills because I have nothing to do with them. It’s your fucking job to figure out where they came from!”

They sat silent, side by side, waiting.

“What is currently being done to find my wife?” I asked. “What leads are you exploring, besides me?”

The house began shaking, the sky ripped, and through the back window, we could see a jet shooting past, right over the river, buzzing us.

“F-10,” Rhonda said.

“Nah, too small,” Gilpin said. “It’s got to be—”

“It’s an F-10.”

Boney leaned toward me, hands entwined. “It’s our job to make sure you are in the hundred percent clear, Nick,” she said. “I know you want that too. Now if you can just help us out with the few little tangles—because that’s what they are, they keep tripping us up.”

“Maybe it’s time I got a lawyer.”

The cops exchanged another look, as if they’d settled a bet.

AMY ELLIOTT DUNNE

OCTOBER 21, 2011

DIARY ENTRY

Nick’s mom is dead. I haven’t been able to write because Nick’s mom is dead, and her son has come unmoored. Sweet, tough Maureen. She was up and moving around until days before she died, refusing to discuss any sort of slowdown. “I just want to live until I can’t anymore,” she said. She’d gotten into knitting caps for other chemo patients (she herself was done done done after one round, no interest in prolonging life if it meant “more tubes”), so I’ll remember her always surrounded by bright knots of wool: red and yellow and green, and her fingers moving, the needles click-clacking while she talked in her contented-cat voice, all deep, sleepy purr.

And then one morning in September she woke but didn’t really wake, didn’t become Maureen. She was a bird-size woman overnight, that fast, all wrinkles and shell, her eyes darting around the room, unable to place anything, including herself. So then came the hospice, a gently lit, cheerful place with paintings of women in bonnets and rolling hills of bounty, and snack machines, and small coffees. The hospice was not expected to fix her or help her but just to make sure she died comfortably, and just three days later, she did. Very matter-of-fact, the way Maureen would have wanted it (although I’m sure she would have rolled her eyes at that phrase: the way Maureen would have wanted it ).

Her wake was modest but nice—with hundreds of people, her look-alike sister from Omaha bustling by proxy, pouring coffee and Baileys and handing out cookies and telling funny stories about Mo. We buried her on a gusty, warm morning, Go and Nick leaning in to each other as I stood nearby, feeling intrusive. That night in bed, Nick let me put my arms around him, his back to me, but after a few minutes he got up, whispered, “Got to get some air,” and left the house.

His mother had always mothered him—she insisted on coming by once a week and ironing for us, and when she was done ironing, she’d say, “I’ll just help tidy,” and after she’d left, I’d look in the fridge and find she’d peeled and sliced his grapefruit for him, put the pieces in a snap-top container, and then I’d open the bread and discover all the crusts had been cut away, each slice returned half naked. I am married to a thirty-four-year-old man who is still offended by bread crusts.

But I tried to do the same those first weeks after his mom passed. I snipped the bread crusts, I ironed his T-shirts, I baked a blueberry pie from his mom’s recipe. “I don’t need to be babied, really, Amy,” he said as he stared at the loaf of skinned breads. “I let my mom do it because it made her happy, but I know you don’t like that nurturing stuff.”

So we’re back to black squares. Sweet, doting, loving Nick is gone. Gruff, peeved, angry Nick is back. You are supposed to lean on your spouse in hard times, but Nick seems to have gone even farther away. He is a mama’s boy whose mama is dead. He doesn’t want anything to do with me.

He uses me for sex when he needs to. He presses me against a table or over the back of the bed and fucks me, silent until the last few moments, those few quick grunts, and then he releases me, he puts a palm on the small of my back, his one gesture of intimacy, and he says something that is supposed to make it seem like a game: “You’re so sexy, sometimes I can’t control myself.” But he says it in a dead voice.

Quiz: Your husband, with whom you once shared a wonderful sex life, has turned distant and cold—he only wants sex his way, on his time. You:

a) Withhold sex further—he’s not going to win this game!

b) Cry and whine and demand answers he’s not yet ready to give, further alienating him.

c) Have faith that this is just a bump in a long marriage—he is in a dark place—so try to be understanding and wait it out.

Answer: C. Right?

It bothers me that my marriage is disintegrating and I don’t know what to do. You’d think my parents, the double psychologists, would be the obvious people to talk to, but I have too much pride. They would not be good for marital advice: They are soul mates, remember? They are all peaks, no valleys—a single, infinite burst of marital ecstasy. I can’t tell them I am screwing up the one thing I have left: my marriage. They’d somehow write another book, a fictional rebuke in which Amazing Amy celebrated the most fantastic, fulfilling, bump-free little marriage ever … because she put her mind to it .

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