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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But I worry. All the time. I know I’m already too old for my husband’s tastes. Because I used to be his ideal, six years ago, and so I’ve heard his ruthless comments about women nearing forty: how pathetic he finds them, overdressed, out at bars, oblivious to their lack of appeal. He’d come back from a night out drinking, and I’d ask him how the bar was, whatever bar, and he’d so often say: “Totally inundated by Lost Causes,” his code for women my age. At the time, a girl barely in her thirties, I’d smirked along with him as if that would never happen to me. Now I am his Lost Cause, and he’s trapped with me, and maybe that’s why he’s so angry.

I’ve been indulging in toddler therapy. I walk over to Noelle’s every day and I let her triplets paw at me. The little plump hands in my hair, the sticky breath on my neck. You can understand why women always threaten to devour children: She is just to eat! I could eat him with a spoon! Although watching her three children toddle to her, sleep-stained from their nap, rubbing their eyes while they make their way to Mama, little hands touching her knee or arm as if she were home base, as if they knew they were safe … it hurts me sometimes to watch.

Yesterday I had a particularly needful afternoon at Noelle’s, so maybe that’s why I did something stupid.

Nick comes home and finds me in the bedroom, fresh from a shower, and pretty soon he is pushing me against the wall, pushing himself inside me. When he is done and releases me, I can see the wet kiss of my mouth against the blue paint. As he sits on the edge of the bed, panting, he says, “Sorry about that. I just needed you.”

Not looking at me.

I go to him and put my arms around him, pretending what we’d just done was normal, a pleasant marital ritual, and I say, “I’ve been thinking.”

“Yeah, what’s that?”

“Well, now might be the right time. To start a family. Try to get pregnant.” I know it’s crazy even as I say it, but I can’t help myself—I have become the crazy woman who wants to get pregnant because it will save her marriage.

It’s humbling, to become the very thing you once mocked.

He jerks away from me. “Now? Now is about the worst time to start a family, Amy. You have no job—”

“I know, but I’d want to stay home with the baby anyway at first—”

“My mom just died, Amy.”

“And this would be new life, a new start.”

He grips me by both arms and looks me right in the eye for the first time in a week. “Amy, I think you think that now that my mom is dead, we’ll just frolic back to New York and have some babies, and you’ll get your old life back. But we don’t have enough money . We barely have enough money for the two of us to live here . You can’t imagine how much pressure I feel, every day, to fix this mess we’re in. To fucking provide . I can’t handle you and me and a few kids. You’ll want to give them everything you had growing up, and I can’t . No private schools for the little Dunnes, no tennis and violin lessons, no summer homes. You’d hate how poor we’d be. You’d hate it.”

“I’m not that shallow, Nick—”

“You really think we’re in a great place right now, to have kids?”

It is the closest we’ve gotten to discussing our marriage, and I can see he already regrets saying something.

“We’re under a lot of pressure, baby,” I say. “We’ve had a few bumps, and I know a lot of it is my fault. I just feel so at loose ends here …”

“So we’re going to be one of those couples who has a kid to fix their marriage? Because that always works out so well.”

“We’ll have a baby because—”

His eyes go dark, canine, and he grabs me by the arms again.

“Just … No, Amy. Not right now. I can’t take one more bit of stress. I can’t handle one more thing to worry about. I am cracking under the pressure. I will snap.”

For once I know he’s telling the truth.

NICK DUNNE

SIX DAYS GONE

The first forty-eight hours are key in any investigation. Amy had been gone, now, almost a week. A candlelight vigil would be held this evening in Tom Sawyer Park, which, according to the press, was “a favorite place of Amy Elliott Dunne’s.” (I’d never known Amy to set foot in the park; despite the name, it is not remotely quaint. Generic, bereft of trees, with a sandbox that’s always full of animal feces; it is utterly un-Twainy.) In the last twenty-four hours, the story had gone national—it was everywhere, just like that.

God bless the faithful Elliotts. Marybeth phoned me last night, as I was trying to recover from the bombshell police interrogation. My mother-in-law had seen the Ellen Abbott show and pronounced the woman “an opportunistic ratings whore.” Nevertheless, we’d spent most of today strategizing how to handle the media.

The media (my former clan, my people!) was shaping its story, and the media loved the Amazing Amy angle and the long-married Elliotts. No snarky commentary on the dismantling of the series or the authors’ near-bankruptcy—right now it was all hearts and flowers for the Elliotts. The media loved them.

Me, not so much. The media was already turning up items of concern . Not only the stuff that had been leaked—my lack of alibi, the possibly “staged” crime scene—but actual personality traits. They reported that back in high school, I’d never dated one girl longer than a few months and thus was clearly a ladies’ man. They found out we had my father in Comfort Hill and that I rarely visited, and thus I was an ingrate dad-abandoner. “It’s a problem—they don’t like you,” Go said after every bit of news coverage. “It’s a real, real problem, Lance.” The media had resurrected my first name, which I’d hated since grade school, stifled at the start of every school year when the teacher called roll: “It’s Nick, I go by Nick!” Every September, an opening-day rite: “Nick-I-go-by-Nick!” Always some smart-ass kid would spend recess parading around like a mincing gallant: “Hi, I’m Laaaance,” in a flowy-shirted voice. Then it would be forgotten again until the following year.

But not now. Now it was all over the news, the dreaded three-name judgment reserved for serial killers and assassins—Lance Nicholas Dunne—and there was no one I could interrupt.

Rand and Marybeth Elliott, Go, and I carpooled to the vigil together. It was unclear how much information the Elliotts were receiving, how many damning updates about their son-in-law. I knew they were aware of the “staged” scene: “I’m going to get some of my own people in there, and they’ll tell us just the opposite—that it clearly was the scene of a struggle,” Rand said confidently. “The truth is malleable; you just need to pick the right expert.”

Rand didn’t know about the other stuff, the credit cards and the life insurance and the blood and Noelle, my wife’s bitter best friend with the damning claims: abuse, greed, fear. She was booked on Ellen Abbott tonight, post-vigil. Noelle and Ellen could be mutually disgusted by me for the viewing audience.

Not everyone was repulsed by me. In the past week, The Bar’s business was booming: Hundreds of customers packed in to sip beers and nibble popcorn at the place owned by Lance Nicholas Dunne, the maybe-killer. Go had to hire four new kids to tend The Bar; she’d dropped by once and said she couldn’t go again, couldn’t stand seeing how packed it was, fucking gawkers, ghouls, all drinking our booze and swapping stories about me. It was disgusting. Still, Go reasoned, the money would be helpful if …

If. Amy gone six days, and we were all thinking in if s.

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