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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I visited the room on three separate occasions—they like to have a lot of backup—while Amy did nothing. She was supposed to begin taking pills, but she didn’t, and then she didn’t some more. She was the one who’d be pregnant, the one who’d turn over her body to the baby, so I postponed nudging her for a few months, keeping an eye on the pill bottle to see if the level went down. Finally, after a few beers one winter night, I crunched up the steps of our home, shed my snow-crusted clothes, and curled up next to her in bed, my face near her shoulder, breathing her in, warming the tip of my nose on her skin. I whispered the words— Let’s do this, Amy, let’s have a baby —and she said no. I was expecting nervousness, caution, worry— Nick, will I be a good mom? —but I got a clipped, cold no . A no without loopholes. Nothing dramatic, no big deal, just not something she was interested in anymore. “Because I realized I’d be stuck doing all the hard stuff,” she reasoned. “All the diapers and doctors’ appointments and discipline, and you’d just breeze in and be Fun Daddy. I’d do all the work to make them good people, and you’d undo it anyway, and they’d love you and hate me.”

I told Amy it wasn’t true, but she didn’t believe me. I told her I didn’t just want a child, I needed a child. I had to know I could love a person unconditionally, that I could make a little creature feel constantly welcome and wanted no matter what. That I could be a different kind of father than my dad was. That I could raise a boy who wasn’t like me.

I begged her. Amy remained unmoved.

A year later, I got a notice in the mail: The clinic would dispose of my semen unless they heard from us. I left the letter on the dining room table, an open rebuke. Three days later, I saw it in the trash. That was our final communication on the subject.

By then I’d already been secretly dating Andie for months, so I had no right to be upset. But that didn’t stop my aching, and it didn’t stop me from daydreaming about our boy, mine and Amy’s. I’d gotten attached to him. The fact was, Amy and I would make a great child.

The marionettes were watching me with alarmed black eyes. I peered out my window, saw that the news trucks had packed it in, so I went out into the warm night. Time to walk. Maybe a lone tabloid writer was trailing me; if so, I didn’t care. I headed through our complex, then forty-five minutes out along River Road, then onto the highway that shot right through the middle of Carthage. Thirty loud, fumy minutes—past car dealerships with trucks displayed appealingly like desserts, past fast-food chains and liquor stores and mini-marts and gas stations—until I reached the turnoff for downtown. I had encountered not a single other person on foot the entire time, only faceless blurs whizzing past me in cars.

It was close to midnight. I passed The Bar, tempted to go in but put off by the crowds. A reporter or two had to be camped out in there. It’s what I would do. But I wanted to be in a bar. I wanted to be surrounded by people, having fun, blowing off steam. I walked another fifteen minutes to the other end of downtown, to a cheesier, rowdier, younger bar where the bathrooms were always laced with vomit on Saturday nights. It was a bar that Andie’s crowd would go to, and perhaps, who knew, drag along Andie. It would be a nice bit of luck to see her there. At least gauge her mood from across the room. And if she wasn’t there then I’d have a fucking drink.

I went as deep into the bar as I could—no Andie, no Andie. My face was partially covered by a baseball cap. Even so, I felt a few pings as I moved past crowds of drinkers: heads abruptly turning toward me, the wide eyes of identification. That guy! Right?

Mid-July. I wondered if I’d become so nefarious come October, I’d be some frat boy’s tasteless Halloween costume: mop of blond hair, an Amazing Amy book tucked under an armpit. Go said she’d received half a dozen phone calls asking if The Bar had an official T-shirt for sale. (We didn’t, thank God.)

I sat down and ordered a Scotch from the bartender, a guy about my age who stared at me a beat too long, deciding whether he would serve me. He finally, grudgingly, set down a small tumbler in front of me, his nostrils flared. When I got out my wallet, he aimed an alarmed palm up at me. “I do not want your money, man. Not at all.”

I left cash anyway. Asshole.

When I tried to flag him for another drink, he glanced my way, shook his head, and leaned in toward the woman he was chatting up. A few seconds later, she discreetly looked toward me, pretending she was stretching. Her mouth turned down as she nodded. That’s him. Nick Dunne . The bartender never came back.

You can’t yell, you can’t strong-arm: Hey, jackass, will you get me a goddamn drink or what? You can’t be the asshole they believe you are. You just have to sit and take it. But I wasn’t leaving. I sat with my empty glass in front of me and pretended I was thinking very hard. I checked my disposable cell, just in case Andie had called. No. Then I pulled out my real phone and played a round of solitaire, pretending to be engrossed. My wife had done this to me, turned me into a man who couldn’t get a drink in his own hometown. God, I hated her.

“Was it Scotch?”

A girl about Andie’s age was standing in front of me. Asian, black shoulder-length hair, cubicle-cute.

“Excuse me?”

“What you were drinking? Scotch?”

“Yeah. Having trouble getting—”

She was gone, to the end of the bar, and she was nosing into the bartender’s line of vision with a big help me smile, a girl used to making her presence known, and then she was back with a Scotch in an actual big-boy tumbler.

“Take it,” she nudged, and I did. “Cheers.” She held up her own clear, fizzing drink. We clinked glasses. “Can I sit?”

“I’m not staying long, actually—” I looked around, making sure no one was aiming a cameraphone at us.

“So, okay,” she said with a shruggy smile. “I could pretend I don’t know you’re Nick Dunne, but I’m not going to insult you. I’m rooting for you, by the way. You’ve been getting a bad rap.”

“Thanks. It’s, uh, it’s a weird time.”

“I’m serious. You know how, in court, they talk about the CSI effect? Like, everyone on the jury has watched so much CSI that they believe science can prove anything?”

“Yeah.”

“Well, I think there’s an Evil Husband effect. Everyone has seen too many true-crime shows where the husband is always, always the killer, so people automatically assume the husband’s the bad guy.”

“That’s exactly it,” I said. “Thank you. That is exactly it. And Ellen Abbott—”

“Fuck Ellen Abbott,” my new friend said. “She’s a one-woman walking, talking, man-hating perversion of the justice system.” She raised her glass again.

“What’s your name?” I asked.

“Another Scotch?”

“That’s a gorgeous name.”

Her name, as it turned out, was Rebecca. She had a ready credit card and a hollow leg. ( Another? Another? Another? ) She was from Muscatine, Iowa (another Mississippi River town), and had moved to New York after undergrad to be a writer (also like me). She’d been an editorial assistant at three different magazines—a bridal magazine, a working-mom magazine, a teen-girl magazine—all of which had shuttered in the past few years, so she was now working for a crime blog called Whodunnit, and she was (giggle) in town to try to get an interview with me. Hell, I had to love her hungry-kid chutzpah: Just fly me to Carthage—the major networks haven’t gotten him, but I’m sure I can!

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