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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“Do they still make pimento loaf?” she said by way of greeting, not looking up, just knowing it was me, and I felt the relief I usually felt when I saw her: Things might not be great, but things would be okay.

My twin, Go. I’ve said this phrase so many times, it has become a reassuring mantra instead of actual words: Mytwingo. We were born in the ’70s, back when twins were rare, a bit magical: cousins of the unicorn, siblings of the elves. We even have a dash of twin telepathy. Go is truly the one person in the entire world I am totally myself with. I don’t feel the need to explain my actions to her. I don’t clarify, I don’t doubt, I don’t worry. I don’t tell her everything, not anymore, but I tell her more than anyone else, by far. I tell her as much as I can. We spent nine months back to back, covering each other. It became a lifelong habit. It never mattered to me that she was a girl, strange for a deeply self-conscious kid. What can I say? She was always just cool.

“Pimento loaf, that’s like lunch meat, right? I think they do.”

“We should get some,” she said. She arched an eyebrow at me. “I’m intrigued.”

Without asking, she poured me a draft of PBR into a mug of questionable cleanliness. When she caught me staring at the smudged rim, she brought the glass up to her mouth and licked the smudge away, leaving a smear of saliva. She set the mug squarely in front of me. “Better, my prince?”

Go firmly believes that I got the best of everything from our parents, that I was the boy they planned on, the single child they could afford, and that she sneaked into this world by clamping onto my ankle, an unwanted stranger. (For my dad, a particularly unwanted stranger.) She believes she was left to fend for herself throughout childhood, a pitiful creature of random hand-me-downs and forgotten permission slips, tightened budgets and general regret. This vision could be somewhat true; I can barely stand to admit it.

“Yes, my squalid little serf,” I said, and fluttered my hands in royal dispensation.

I huddled over my beer. I needed to sit and drink a beer or three. My nerves were still singing from the morning.

“What’s up with you?” she asked. “You look all twitchy.” She flicked some suds at me, more water than soap. The air-conditioning kicked on, ruffling the tops of our heads. We spent more time in The Bar than we needed to. It had become the childhood clubhouse we never had. We’d busted open the storage boxes in our mother’s basement one drunken night last year, back when she was alive but right near the end, when we were in need of comfort, and we revisited the toys and games with much oohing and ahhing between sips of canned beer. Christmas in August. After Mom died, Go moved into our old house, and we slowly relocated our toys, piecemeal, to The Bar: a Strawberry Shortcake doll, now scentless, pops up on a stool one day (my gift to Go). A tiny Hot Wheels El Camino, one wheel missing, appears on a shelf in the corner (Go’s to me).

We were thinking of introducing a board game night, even though most of our customers were too old to be nostalgic for our Hungry Hungry Hippos, our Game of Life with its tiny plastic cars to be filled with tiny plastic pinhead spouses and tiny plastic pinhead babies. I couldn’t remember how you won. (Deep Hasbro thought for the day.)

Go refilled my beer, refilled her beer. Her left eyelid drooped slightly. It was exactly noon, 12:00, and I wondered how long she’d been drinking. She’s had a bumpy decade. My speculative sister, she of the rocket-science brain and the rodeo spirit, dropped out of college and moved to Manhattan in the late ’90s. She was one of the original dot-com phenoms—made crazy money for two years, then took the Internet bubble bath in 2000. Go remained unflappable. She was closer to twenty than thirty; she was fine. For act two, she got her degree and joined the gray-suited world of investment banking. She was midlevel, nothing flashy, nothing blameful, but she lost her job—fast—with the 2008 financial meltdown. I didn’t even know she’d left New York until she phoned me from Mom’s house: I give up . I begged her, cajoled her to return, hearing nothing but peeved silence on the other end. After I hung up, I made an anxious pilgrimage to her apartment in the Bowery and saw Gary, her beloved ficus tree, yellow-dead on the fire escape, and knew she’d never come back.

The Bar seemed to cheer her up. She handled the books, she poured the beers. She stole from the tip jar semi-regularly, but then she did more work than me. We never talked about our old lives. We were Dunnes, and we were done, and strangely content about it.

“So, what?” Go said, her usual way of beginning a conversation.

“Eh.”

“Eh, what? Eh, bad? You look bad.”

I shrugged a yes; she scanned my face.

“Amy?” she asked. It was an easy question. I shrugged again—a confirmation this time, a whatcha gonna do? shrug.

Go gave me her amused face, both elbows on the bar, hands cradling chin, hunkering down for an incisive dissection of my marriage. Go, an expert panel of one. “What about her?”

“Bad day. It’s just a bad day.”

“Don’t let her worry you.” Go lit a cigarette. She smoked exactly one a day. “Women are crazy.” Go didn’t consider herself part of the general category of women , a word she used derisively.

I blew Go’s smoke back to its owner. “It’s our anniversary today. Five years.”

“Wow.” My sister cocked her head back. She’d been a bridesmaid, all in violet—“the gorgeous, raven-haired, amethyst-draped dame ,” Amy’s mother had dubbed her—but anniversaries weren’t something she’d remember. “Jeez. Fuck. Dude. That came fast.” She blew more smoke toward me, a lazy game of cancer catch. “She going to do one of her, uh, what do you call it, not scavenger hunt—”

“Treasure hunt,” I said.

My wife loved games, mostly mind games, but also actual games of amusement, and for our anniversary she always set up an elaborate treasure hunt, with each clue leading to the hiding place of the next clue until I reached the end, and my present. It was what her dad always did for her mom on their anniversary, and don’t think I don’t see the gender roles here, that I don’t get the hint. But I did not grow up in Amy’s household, I grew up in mine, and the last present I remember my dad giving my mom was an iron, set on the kitchen counter, no wrapping paper.

“Should we make a wager on how pissed she’s going to get at you this year?” Go asked, smiling over the rim of her beer.

The problem with Amy’s treasure hunts: I never figured out the clues. Our first anniversary, back in New York, I went two for seven. That was my best year. The opening parley:

This place is a bit of a hole in the wall ,

But we had a great kiss there one Tuesday last fall .

Ever been in a spelling bee as a kid? That snowy second after the announcement of the word as you sift your brain to see if you can spell it? It was like that, the blank panic.

“An Irish bar in a not-so-Irish place,” Amy nudged.

I bit the side of my lip, started a shrug, scanning our living room as if the answer might appear. She gave me another very long minute.

“We were lost in the rain,” she said in a voice that was pleading on the way to peeved.

I finished the shrug.

McMann’s , Nick. Remember, when we got lost in the rain in Chinatown trying to find that dim sum place, and it was supposed to be near the statue of Confucius but it turns out there are two statues of Confucius, and we ended up at that random Irish bar all soaking wet, and we slammed a few whiskeys, and you grabbed me and kissed me, and it was—”

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