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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“Right! You should have done a clue with Confucius, I would have gotten that.”

“The statue wasn’t the point. The place was the point. The moment. I just thought it was special.” She said these last words in a childish lilt that I once found fetching.

“It was special.” I pulled her to me and kissed her. “That smooch right there was my special anniversary reenactment. Let’s go do it again at McMann’s.”

At McMann’s, the bartender, a big, bearded bear-kid, saw us come in and grinned, poured us both whiskeys, and pushed over the next clue.

When I’m down and feeling blue

There’s only one place that will do .

That one turned out to be the Alice in Wonderland statue at Central Park, which Amy had told me—she’d told me, she knew she’d told me many times—lightened her moods as a child. I do not remember any of those conversations. I’m being honest here, I just don’t. I have a dash of ADD, and I’ve always found my wife a bit dazzling, in the purest sense of the word: to lose clear vision, especially from looking at bright light. It was enough to be near her and hear her talk, it didn’t always matter what she was saying. It should have, but it didn’t.

By the time we got to the end of the day, to exchanging our actual presents—the traditional paper presents for the first year of marriage—Amy was not speaking to me.

“I love you, Amy. You know I love you,” I said, tailing her in and out of the family packs of dazed tourists parked in the middle of the sidewalk, oblivious and openmouthed. Amy was slipping through the Central Park crowds, maneuvering between laser-eyed joggers and scissor-legged skaters, kneeling parents and toddlers careering like drunks, always just ahead of me, tight-lipped, hurrying nowhere. Me trying to catch up, grab her arm. She stopped finally, gave me a face unmoved as I explained myself, one mental finger tamping down my exasperation: “Amy, I don’t get why I need to prove my love to you by remembering the exact same things you do, the exact same way you do. It doesn’t mean I don’t love our life together.”

A nearby clown blew up a balloon animal, a man bought a rose, a child licked an ice cream cone, and a genuine tradition was born, one I’d never forget: Amy always going overboard, me never, ever worthy of the effort. Happy anniversary, asshole.

“I’m guessing—five years—she’s going to get really pissed,” Go continued. “So I hope you got her a really good present.”

“On the to-do list.”

“What’s the, like, symbol, for five years? Paper?”

“Paper is first year,” I said. At the end of Year One’s unexpectedly wrenching treasure hunt, Amy presented me with a set of posh stationery, my initials embossed at the top, the paper so creamy I expected my fingers to come away moist. In return, I’d presented my wife with a bright red dime-store paper kite, picturing the park, picnics, warm summer gusts. Neither of us liked our presents; we’d each have preferred the other’s. It was a reverse O. Henry.

“Silver?” guessed Go. “Bronze? Scrimshaw? Help me out.”

“Wood,” I said. “There’s no romantic present for wood.”

At the other end of the bar, Sue neatly folded her newspaper and left it on the bartop with her empty mug and a five-dollar bill. We all exchanged silent smiles as she walked out.

“I got it,” Go said. “Go home, fuck her brains out, then smack her with your penis and scream, ‘There’s some wood for you, bitch!’ ”

We laughed. Then we both flushed pink in our cheeks in the same spot. It was the kind of raunchy, unsisterly joke that Go enjoyed tossing at me like a grenade. It was also the reason why, in high school, there were always rumors that we secretly screwed. Twincest. We were too tight: our inside jokes, our edge-of-the-party whispers. I’m pretty sure I don’t need to say this, but you are not Go, you might misconstrue, so I will: My sister and I have never screwed or even thought of screwing. We just really like each other.

Go was now pantomiming dick-slapping my wife.

No, Amy and Go were never going to be friends. They were each too territorial. Go was used to being the alpha girl in my life, Amy was used to being the alpha girl in everyone’s life. For two people who lived in the same city—the same city twice: first New York, now here—they barely knew each other. They flitted in and out of my life like well-timed stage actors, one going out the door as the other came in, and on the rare occasions when they both inhabited the same room, they seemed somewhat bemused at the situation.

Before Amy and I got serious, got engaged, got married, I would get glimpses of Go’s thoughts in a sentence here or there. It’s funny, I can’t quite get a bead on her, like who she really is . And: You just seem kind of not yourself with her . And: There’s a difference between really loving someone and loving the idea of her . And finally: The important thing is she makes you really happy .

Back when Amy made me really happy.

Amy offered her own notions of Go: She’s very … Missouri, isn’t she? And: You just have to be in the right mood for her . And: She’s a little needy about you, but then I guess she doesn’t have anyone else .

I’d hoped when we all wound up back in Missouri, the two would let it drop—agree to disagree, free to be you and me. Neither did. Go was funnier than Amy, though, so it was a mismatched battle. Amy was clever, withering, sarcastic. Amy could get me riled up, could make an excellent, barbed point, but Go always made me laugh. It is dangerous to laugh at your spouse.

“Go, I thought we agreed you’d never mention my genitalia again,” I said. “That within the bounds of our sibling relationship, I have no genitalia.”

The phone rang. Go took one more sip of her beer and answered, gave an eyeroll and a smile. “He sure is here, one moment, please!” To me, she mouthed: “Carl.”

Carl Pelley lived across the street from me and Amy. Retired three years. Divorced two years. Moved into our development right after. He’d been a traveling salesman—children’s party supplies—and I sensed that after four decades of motel living, he wasn’t quite at home being home. He showed up at the bar nearly every day with a pungent Hardee’s bag, complaining about his budget until he was offered a first drink on the house. (This was another thing I learned about Carl from his days in The Bar—that he was a functioning but serious alcoholic.) He had the good grace to accept whatever we were “trying to get rid of,” and he meant it: For one full month Carl drank nothing but dusty Zimas, circa 1992, that we’d discovered in the basement. When a hangover kept Carl home, he’d find a reason to call: Your mailbox looks awfully full today, Nicky, maybe a package came . Or: It’s supposed to rain, you might want to close your windows . The reasons were bogus. Carl just needed to hear the clink of glasses, the glug of a drink being poured.

I picked up the phone, shaking a tumbler of ice near the receiver so Carl could imagine his gin.

“Hey, Nicky,” Carl’s watery voice came over. “Sorry to bother you. I just thought you should know … your door is wide open, and that cat of yours is outside. It isn’t supposed to be, right?”

I gave a noncommittal grunt.

“I’d go over and check, but I’m a little under the weather,” Carl said heavily.

“Don’t worry,” I said. “It’s time for me to go home anyway.”

It was a fifteen-minute drive, straight north along River Road. Driving into our development occasionally makes me shiver, the sheer number of gaping dark houses—homes that have never known inhabitants, or homes that have known owners and seen them ejected, the house standing triumphantly voided, humanless.

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