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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“Why do you keep lying, Nick?” she asked. “The Elliotts are not your enemy. Shouldn’t you at least tell them that it was you who didn’t want kids? Why make Amy look like the bad guy?”

I swallowed the rage again. My stomach was hot with it. “I’m exhausted, Go. Goddamn. We gotta do this now?”

“We gonna find a time that’s better?”

“I did want kids. We tried for a while, no luck. We even started looking into fertility treatments. But then Amy decided she didn’t want kids.”

“You told me you didn’t.”

“I was trying to put a good face on it.”

“Oh, awesome, another lie,” Go said. “I didn’t realize you were such a … What you’re saying, Nick, it makes no sense. I was there, at the dinner to celebrate The Bar, and Mom misunderstood, she thought you guys were announcing that you were pregnant, and it made Amy cry.”

“Well, I can’t explain everything Amy ever did, Go. I don’t know why, a fucking year ago, she cried like that. Okay?”

Go sat quietly, the orange of the streetlight creating a rock-star halo around her profile. “This is going to be a real test for you, Nick,” she murmured, not looking at me. “You’ve always had trouble with the truth—you always do the little fib if you think it will avoid a real argument. You’ve always gone the easy way. Tell Mom you went to baseball practice when you really quit the team; tell Mom you went to church when you were at a movie. It’s some weird compulsion.”

“This is very different from baseball, Go.”

“It’s a lot different. But you’re still fibbing like a little boy. You’re still desperate to have everyone think you’re perfect. You never want to be the bad guy. So you tell Amy’s parents she didn’t want kids. You don’t tell me you’re cheating on your wife. You swear the credit cards in your name aren’t yours, you swear you were hanging out at a beach when you hate the beach, you swear your marriage was happy. I just don’t know what to believe right now.”

“You’re kidding, right?”

“Since Amy has disappeared, all you’ve done is lie. It makes me worry. About what’s going on.”

Complete silence for a moment.

“Go, are you saying what I think you’re saying? Because if you are, something has fucking died between us.”

“Remember that game you always played with Mom when we were little: Would you still love me if? Would you still love me if I smacked Go? Would you still love me if I robbed a bank? Would you still love me if I killed someone?”

I said nothing. My breath was coming too fast.

“I would still love you,” Go said.

“Go, do you really need me to say it?”

She stayed silent.

“I did not kill Amy.”

She stayed silent.

“Do you believe me?” I asked.

“I love you.”

She put her hand on my shoulder and went to her bedroom, shut the door. I waited to see the light go on in the room, but it stayed dark.

Two seconds later, my cell phone rang. This time, it was the disposable cell that I needed to get rid of and couldn’t because I always, always, always had to pick up for Andie. Once a day, Nick. We need to talk once a day .

I realized I was grinding my teeth.

I took a breath.

Far out on the edge of town were the remains of an Old West fort that was now yet another park that no one ever went to. All that was left was the two-story wooden watchtower, surrounded by rusted swing sets and teeter-totters. Andie and I had met there once, groping each other inside the shade of the watchtower.

I did three long loops around town in my mom’s old car to be sure I was not tracked. It was madness to go—it wasn’t yet ten o’clock—but I had no say in our rendezvous anymore. I need to see you, Nick, tonight, right now, or I swear to you, I will lose it . As I pulled up to the fort, I was hit by the remoteness of it and what it meant: Andie was still willing to meet me in a lonely, unlit place, me the pregnant-wife killer. As I walked toward the tower through the thick, scratchy grass, I could just see her outline in the tiny window of the wooden watchtower.

She is going to undo you, Nick . I quick-stepped the rest of the way.

An hour later I was huddled in my paparazzi-infested house, waiting. Rand said they’d know before midnight whether my wife was pregnant. When the phone rang, I grabbed it immediately only to find it was goddamn Comfort Hill. My father was gone again. The cops had been notified. As always, they made it sound as if I were the jackass. If this happens again, we are going to have to terminate your father’s stay with us . I had a sickening chill: My dad moving in with me—two pathetic, angry bastards—it would surely make for the worst buddy comedy in the world. The ending would be a murder-suicide. Ba-dum-dum! Cue the laff track.

I was getting off the phone, peering out the back window at the river— stay calm, Nick —when I saw a huddled figure down by the boathouse. I thought it must be a stray reporter, but then I recognized something in those balled fists and tight shoulders. Comfort Hill was about a thirty-minute walk straight down River Road. He somehow remembered our house when he couldn’t remember me.

I went outside into the darkness to see him dangling a foot over the bank, staring into the river. Less bedraggled than before, although he smelled tangy with sweat.

“Dad? What are you doing here? Everyone’s worried.”

He looked at me with dark brown eyes, sharp eyes, not the glazed-milk color some elderly acquire. It would have been less disconcerting if they’d been milky.

“She told me to come,” he snapped. “She told me to come. This is my house, I can come whenever I want.”

“You walked all the way here?”

“I can come here anytime. You may hate me, but she loves me.” I almost laughed. Even my father was reinventing a relationship with Amy.

A few photographers on my front lawn began shooting. I had to get my dad back to the home. I could picture the article they’d have to cook up to go along with this exclusive footage: What kind of father was Bill Dunne, what kind of man did he raise? Good God, if my dad started in on one of his harangues against the bitches … I dialed Comfort Hill, and after some finagling, they sent an orderly to retrieve him. I made a display of walking him gently to the sedan, murmuring reassuringly as the photographers got their shots.

My dad . I smiled as he left. I tried to make it seem very proud-son. The reporters asked me if I killed my wife. I was retreating to the house when a cop car pulled up.

It was Boney who came to my home, braving the paparazzi, to tell me. She did it kindly, in a gentle-fingertip voice.

Amy was pregnant.

My wife was gone with my baby inside her. Boney watched me, waiting for my reaction—make it part of the police report—so I told myself, Act correctly, don’t blow it, act the way a man acts when he hears this news . I ducked my head into my hands and muttered, Oh God, oh God , and while I was doing it, I saw my wife on the floor of our kitchen, her hands around her belly and her head bashed in.

AMY ELLIOTT DUNNE

JUNE 26, 2012

DIARY ENTRY

I have never felt more alive in my life. It is a bright, blue-sky day, the birds are lunatic with the warmth, the river outside is gushing past, and I am utterly alive. Scared, thrilled, but alive .

This morning when I woke up, Nick was gone. I sat in bed staring at the ceiling, watching the sun golden it a foot at a time, the bluebirds singing right outside our window, and I wanted to vomit. My throat was clenching and unclenching like a heart. I told myself I would not throw up, then I ran to the bathroom and threw up: bile and warm water and one small bobbing pea. As my stomach was seizing and my eyes were tearing and I was gasping for breath, I started doing the only kind of math a woman does, huddled over a toilet. I’m on the pill, but I’d also forgotten a day or two—what does it matter, I’m thirty-eight, I’ve been on the pill for almost two decades. I’m not going to accidentally get pregnant.

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