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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My parents have always worried that I’d take Amy too personally—they always tell me not to read too much into her. And yet I can’t fail to notice that whenever I screw something up, Amy does it right: When I finally quit violin at age twelve, Amy was revealed as a prodigy in the next book. (“Sheesh, violin can be hard work, but hard work is the only way to get better!”) When I blew off the junior tennis championship at age sixteen to do a beach weekend with friends, Amy recommitted to the game. (“Sheesh, I know it’s fun to spend time with friends, but I’d be letting myself and everyone else down if I didn’t show up for the tournament.”) This used to drive me mad, but after I went off to Harvard (and Amy correctly chose my parents’ alma mater), I decided it was all too ridiculous to think about. That my parents, two child psychologists , chose this particular public form of passive-aggressiveness toward their child was not just fucked up but also stupid and weird and kind of hilarious. So be it.

The book party was as schizophrenic as the book—at Bluenight, off Union Square, one of those shadowy salons with wingback chairs and art deco mirrors that are supposed to make you feel like a Bright Young Thing. Gin martinis wobbling on trays lofted by waiters with rictus smiles. Greedy journalists with knowing smirks and hollow legs, getting the free buzz before they go somewhere better.

My parents circulate the room hand in hand—their love story is always part of the Amazing Amy story: husband and wife in mutual creative labor for a quarter century. Soul mates. They really call themselves that, which makes sense, because I guess they are. I can vouch for it, having studied them, little lonely only child, for many years. They have no harsh edges with each other, no spiny conflicts, they ride through life like conjoined jellyfish—expanding and contracting instinctively, filling each other’s spaces liquidly. Making it look easy, the soul-mate thing. People say children from broken homes have it hard, but the children of charmed marriages have their own particular challenges.

Naturally, I have to sit on some velvety banquette in the corner of the room, out of the noise, so I can give a few interviews to a sad handful of kid interns who’ve gotten stuck with the “grab a quote” assignment from their editors.

How does it feel to see Amy finally married to Andy? Because you’re not married, right?

Question asked by:

a) a sheepish, bug-eyed kid balancing a notebook on top of his messenger bag

b) an overdressed, sleek-haired young thing with fuck-me stilettos

c) an eager, tattooed rockabilly girl who seemed way more interested in Amy than one would guess a tattooed rockabilly girl would be

d) all of the above

Answer: D

Me: “Oh, I’m thrilled for Amy and Andy, I wish them the best. Ha, ha.”

My answers to all the other questions, in no particular order:

“Some parts of Amy are inspired by me, and some are just fiction.”

“I’m happily single right now, no Able Andy in my life!”

“No, I don’t think Amy oversimplifies the male-female dynamic.”

“No, I wouldn’t say Amy is dated; I think the series is a classic.”

“Yes, I am single. No Able Andy in my life right now.”

“Why is Amy amazing and Andy’s just able? Well, don’t you know a lot of powerful, fabulous women who settle for regular guys, Average Joes and Able Andys? No, just kidding, don’t write that.”

“Yes, I am single.”

“Yes, my parents are definitely soul mates.”

“Yes, I would like that for myself one day.”

“Yep, single, motherfucker.”

Same questions over and over, and me trying to pretend they’re thought-provoking. And them trying to pretend they’re thought-provoking. Thank God for the open bar.

Then no one else wants to talk to me—that fast—and the PR girl pretends it’s a good thing: Now you can get back to your party! I wriggle back into the (small) crowd, where my parents are in full hosting mode, their faces flushed—Rand with his toothy prehistoric-monster-fish smile, Marybeth with her chickeny, cheerful head bobs, their hands intertwined, making each other laugh, enjoying each other, thrilled with each other—and I think, I am so fucking lonely .

I go home and cry for a while. I am almost thirty-two. That’s not old, especially not in New York, but fact is, it’s been years since I even really liked someone. So how likely is it I’ll meet someone I love, much less someone I love enough to marry? I’m tired of not knowing who I’ll be with, or if I’ll be with anyone.

I have many friends who are married—not many who are happily married, but many married friends. The few happy ones are like my parents: They’re baffled by my singleness. A smart, pretty, nice girl like me, a girl with so many interests and enthusiasms , a cool job, a loving family. And let’s say it: money. They knit their eyebrows and pretend to think of men they can set me up with, but we all know there’s no one left, no one good left, and I know that they secretly think there’s something wrong with me, something hidden away that makes me unsatisfiable, unsatisfying.

The ones who are not soul-mated—the ones who have settled— are even more dismissive of my singleness: It’s not that hard to find someone to marry, they say. No relationship is perfect, they say—they, who make do with dutiful sex and gassy bedtime rituals, who settle for TV as conversation, who believe that husbandly capitulation—yes, honey, okay, honey—is the same as concord. He’s doing what you tell him to do because he doesn’t care enough to argue , I think. Your petty demands simply make him feel superior, or resentful, and someday he will fuck his pretty, young coworker who asks nothing of him, and you will actually be shocked . Give me a man with a little fight in him, a man who calls me on my bullshit. (But who also kind of likes my bullshit.) And yet: Don’t land me in one of those relationships where we’re always pecking at each other, disguising insults as jokes, rolling our eyes and “playfully” scrapping in front of our friends, hoping to lure them to our side of an argument they could not care less about. Those awful if only relationships: This marriage would be great if only … and you sense the if only list is a lot longer than either of them realizes.

So I know I am right not to settle, but it doesn’t make me feel better as my friends pair off and I stay home on Friday night with a bottle of wine and make myself an extravagant meal and tell myself, This is perfect , as if I’m the one dating me. As I go to endless rounds of parties and bar nights, perfumed and sprayed and hopeful, rotating myself around the room like some dubious dessert. I go on dates with men who are nice and good-looking and smart—perfect-on-paper men who make me feel like I’m in a foreign land, trying to explain myself, trying to make myself known. Because isn’t that the point of every relationship: to be known by someone else, to be understood? He gets me. She gets me. Isn’t that the simple magic phrase?

So you suffer through the night with the perfect-on-paper man—the stutter of jokes misunderstood, the witty remarks lobbed and missed. Or maybe he understands that you’ve made a witty remark but, unsure of what to do with it, he holds it in his hand like some bit of conversational phlegm he will wipe away later. You spend another hour trying to find each other, to recognize each other, and you drink a little too much and try a little too hard. And you go home to a cold bed and think, That was fine . And your life is a long line of fine.

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