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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We approached the park in a car gone silent except for Marybeth’s constant nail drumming on the window.

“Feels almost like a double date.” Rand laughed, the laughter curving toward the hysterical: high-pitched and squeaky. Rand Elliott, genius psychologist, best-selling author, friend to all, was unraveling.

Marybeth had taken to self-medication: shots of clear liquor administered with absolute precision, enough to take the edge off but stay sharp. Rand, on the other hand, was literally losing his head; I half expected to see it shoot off his shoulders on a jack-in-the-box spring—cuckoooooo! Rand’s schmoozy nature had turned manic: He got desperately chummy with everyone he met, wrapping his arms around cops, reporters, volunteers. He was particularly tight with our Days Inn “liaison,” a gawky, shy kid named Donnie whom Rand liked to razz and inform he was doing so. “Ah, I’m just razzing you, Donnie,” he’d say, and Donnie would break into a joyous grin.

“Can’t that kid go get validation somewhere else?” I groused to Go the other night. She said I was just jealous that my father figure liked someone better. I was.

Marybeth patted Rand’s back as we walked toward the park, and I thought about how much I wanted someone to do that, just a quick touch, and I suddenly let out a gasp-sob, one quick teary moan. I wanted someone, but I wasn’t sure if it was Andie or Amy.

“Nick?” Go said. She raised a hand toward my shoulder, but I shrugged her off.

“Sorry. Wow, sorry for that,” I said. “Weird outburst, very un-Dunne-y.”

“No problem. We’re both coming undone-y,” Go said, and looked away. Since discovering my situation —which is what we’d taken to calling my infidelity—she’d gotten a bit removed, her eyes distant, her face a constant mull. I was trying very hard not to resent it.

As we entered the park, the camera crews were everywhere, not just local anymore but network. The Dunnes and the Elliotts walked along the perimeter of the crowd, Rand smiling and nodding like a visiting dignitary. Boney and Gilpin appeared almost immediately, took to our heels like friendly pointer dogs; they were becoming familiar, furniture, which was clearly the idea. Boney was wearing the same clothes she wore to any public event: a sensible black skirt, a gray-striped blouse, barrettes clipping either side of her limp hair. I got a girl named Bony Moronie … The night was steamy; under each of Boney’s armpits was a dark smiley face of perspiration. She actually grinned at me as if yesterday, the accusations—they were accusations, weren’t they?—hadn’t happened.

The Elliotts and I filed up the steps to a rickety makeshift stage. I looked back toward my twin and she nodded at me and pantomimed a big breath, and I remembered to breathe. Hundreds of faces were turned toward us, along with clicking, flashing cameras. Don’t smile , I told myself. Do not smile .

From the front of dozens of Find Amy T-shirts, my wife studied me.

Go had said I needed to make a speech (“You need some humanizing, fast”) so I did, I walked up to the microphone. It was too low, mid-belly, and I wrestled with it a few seconds, and it raised only an inch, the kind of malfunction that would normally infuriate me, but I could no longer be infuriated in public, so I took a breath and leaned down and read the words that my sister had written for me: “My wife, Amy Dunne, has been missing for almost a week. I cannot possibly convey the anguish our family feels, the deep hole in our lives left by Amy’s disappearance. Amy is the love of my life, she is the heart of her family. For those who have yet to meet her, she is funny, and charming, and kind. She is wise and warm. She is my helpmate and partner in every way.”

I looked up into the crowd and, like magic, spotted Andie, a disgusted look on her face, and I quickly glanced back at my notes.

“Amy is the woman I want to grow old with, and I know this will happen.”

PAUSE. BREATHE. NO SMILE. Go had actually written the words on my index card. Happen happen happen . My voice echoed out through the speakers, rolling toward the river.

“We ask you to contact us with any information. We light candles tonight in the hope she comes home soon and safely. I love you, Amy.”

I kept my eyes moving anywhere but Andie. The park sparkled with candles. A moment of silence was supposed to be observed, but babies were crying, and one stumbling homeless man kept asking loudly, “Hey, what is this about? What’s it for?,” and someone would whisper Amy’s name, and the guy would say louder, “What? It’s for what ?”

From the middle of the crowd, Noelle Hawthorne began moving forward, her triplets affixed, one on a hip, the other two clinging to her skirt, all looking ludicrously tiny to a man who spent no time around children. Noelle forced the crowd to part for her and the children, marching right to the edge of the podium, where she looked up at me. I glared at her—the woman had maligned me—and then I noticed for the first time the swell in her belly and realized she was pregnant again. For one second, my mouth dropped—four kids under four, sweet Jesus!—and later, that look would be analyzed and debated, most people believing it was a one-two punch of anger and fear.

“Hey, Nick .” Her voice caught in the half-raised microphone and boomed out to the audience.

I started to fumble with the mike, but couldn’t find the off switch.

“I just wanted to see your face,” she said, and burst into tears. A wet sob rolled out over the audience, everyone rapt. “Where is she? What have you done with Amy? What have you done with your wife!”

Wife, wife , her voice echoed. Two of her alarmed children began to wail.

Noelle couldn’t talk for a second, she was crying so hard, she was wild, furious, and she grabbed the microphone stand and yanked the whole thing down to her level. I debated grabbing it back but knew I could do nothing toward this woman in the maternity dress with the three toddlers. I scanned the crowd for Mike Hawthorne —control your wife —but he was nowhere. Noelle turned to address the crowd.

“I am Amy’s best friend!” Friend friend friend . The words boomed out all over the park along with her children’s keening. “Despite my best efforts, the police don’t seem to be taking me seriously. So I’m taking our cause to this town, this town that Amy loved, that loved her back! This man, Nick Dunne, needs to answer some questions. He needs to tell us what he did to his wife!”

Boney darted from the side of the stage to reach her, and Noelle turned, and the two locked eyes. Boney made a frantic chopping motion at her throat: Stop talking!

“His pregnant wife!”

And no one could see the candles anymore, because the flashbulbs were going berserk. Next to me, Rand made a noise like a balloon squeak. Down below me, Boney put her fingers between her eyebrows as if stanching a headache. I was seeing everyone in frantic strobe shots that matched my pulse.

I looked out into the crowd for Andie, saw her staring at me, her face pink and twisted, her cheeks damp, and as we caught each other’s eyes, she mouthed “Asshole!” and stumbled back away through the crowd.

“We should go.” My sister, suddenly beside me, whispering in my ear, tugging at my arm. The cameras flashing at me as I stood like some Frankenstein’s monster, fearful and agitated by the villager torches. Flash, flash . We started moving, breaking into two parts: my sister and I fleeing toward Go’s car, the Elliotts standing with jaws agape, on the platform, left behind, save yourselves. The reporters pelted the question over and over at me. Nick, was Amy pregnant? Nick, were you upset Amy was pregnant? Me, streaking out of the park, ducking like I was caught in hail: Pregnant, pregnant, pregnant , the word pulsing in the summer night in time to the cicadas.

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