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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He enters, and he makes my mouth water. The smell. He brings me something nice to eat, but not as nice as what he’s had: He’s thinning me up, he always preferred his women waify. So he brings me lovely green star fruit and spiky artichokes and spiny crab, anything that takes elaborate preparation and yields little in return. I am almost my normal weight again, and my hair is growing out. I wear it back in a headband he brought me, and I have colored it back to my blond, thanks to hair dye he also brought me: “I think you will feel better about yourself when you start looking more like yourself, sweetheart,” he says. Yes, it’s all about my well-being, not the fact that he wants me to look exactly like I did before. Amy circa 1987.

I eat lunch as he hovers near me, waiting for the compliments. (To never have to say those words —thank you —again. I don’t remember Nick ever pausing to allow me—force me—to thank him.) I finish lunch, and he tidies up as best as he knows how. We are two people unaccustomed to cleaning up after ourselves; the place is beginning to look lived in—strange stains on countertops, dust on windowsills.

Lunch concluded, Desi fiddles with me for a while: my hair, my skin, my clothes, my mind.

“Look at you,” he’ll say, tucking my hair behind my ears the way he likes it, unbuttoning my shirt one notch and loosening it at the neck so he can look at the hollow of my clavicle. He puts a finger in the little indentation, filling the gap. It is obscene. “How can Nick have hurt you, have not loved you, have cheated on you?” He continually hits these points, verbally poking a bruise. “Wouldn’t it be so lovely to just forget about Nick, those awful five years, and move on? You have that chance, you know, to completely start over with the right man. How many people can say that?”

I do want to start over with the right man, the New Nick. Things are looking bad for him, dire. Only I can save Nick from me. But I am trapped.

“If you ever left here and I didn’t know where you were, I’d have to go to the police,” he says. “I’d have no choice. I’d need to make sure you were safe, that Nick wasn’t … holding you somewhere against your will. Violating you.”

A threat disguised as concern.

I look at Desi with outright disgust now. Sometimes I feel my skin must be hot with repulsion and with the effort to keep that repulsion hidden. I’d forgotten about him. The manipulation, the purring persuasion, the delicate bullying. A man who finds guilt erotic. And if he doesn’t get his way, he’ll pull his little levers and set his punishment in motion. At least Nick was man enough to go stick his dick in something. Desi will push and push with his waxy, tapered fingers until I give him what he wants.

I thought I could control Desi, but I can’t. I feel like something very bad is going to happen.

NICK DUNNE

THIRTY-THREE DAYS GONE

The days were loose and long, and then they smashed into a wall. I went out to get groceries one August morning, and I came home to find Tanner in my living room with Boney and Gilpin. On the table, inside a plastic evidence bag, was a long thick club with delicate grooves for fingers.

“We found this just down the river from your home on that first search,” Boney said. “Didn’t look like anything at the time, really. Just some of the weird flotsam on a riverbank, but we keep everything in a search like that. After you showed us your Punch and Judy dolls, it clicked. So we got the lab to check it out.”

“And?” I said. Toneless.

Boney stood up, looked me right in the eye. She sounded sad. “We were able to detect Amy’s blood on it. This case is now classified as a homicide. And we believe this to be the murder weapon.”

“Rhonda, come on!”

“It’s time, Nick,” she said. “It’s time.”

The next part was starting.

AMY ELLIOTT DUNNE

FORTY DAYS GONE

I have found a piece of old twine and an empty wine bottle, and I’ve been using them for my project. Also some vermouth, of course. I am ready.

Discipline. This will take discipline and focus. I am up to the task.

I array myself in Desi’s favorite look: delicate flower. My hair in loose waves, perfumed. My skin has paled after a month inside. I am almost without makeup: a flip of mascara, pink-pink cheeks, and clear lip gloss. I wear a clingy pink dress he bought me. No bra. No panties. No shoes, despite the air-conditioned chill. I have a fire crackling and perfume in the air, and when he arrives after lunch without invitation, I greet him with pleasure. I wrap my arms around him and bury my face in his neck. I rub my cheek against his. I have been increasingly sweeter to him the past few weeks, but this is new, this clinging.

“What’s this, sweetheart?” he says, surprised and so pleased that I almost feel ashamed.

“I had the worst nightmare last night,” I whisper. “About Nick. I woke up, and all I wanted was to have you here. And in the morning … I’ve spent all day wishing you were here.”

“I can always be here, if you like.”

“I would,” I say, and I turn my face up to him and let him kiss me. His kiss disgusts me; it’s nibbly and hesitant, like a fish. It’s Desi being respectful of his raped, abused woman. He nibbles again, wet cold lips, his hands barely on me, and I just want this all over, I want it done, so I pull him to me and push his lips open with my tongue. I want to bite him.

He pulls back. “Amy,” he says. “You’ve been through a lot. This is fast. I don’t want you to do this fast if you don’t want to. If you’re not sure.”

I know he’s going to have to touch my breasts, I know he’s going to have to push himself inside me, and I want it over, I can barely restrain myself from scratching him: the idea of doing this slowly.

“I’m sure,” I say. “I guess I’ve been sure since we were sixteen. I was just afraid.”

This means nothing, but I know it will get him hard.

I kiss him again, and then I ask him if he will take me into our bedroom.

In the bedroom, he begins undressing me slowly, kissing parts of my body that have nothing to do with sex—my shoulder, my ear—while I delicately guide him away from my wrists and ankles. Just fuck me, for Christ’s sake. Ten minutes in and I grab his hand and thrust it between my legs.

“Are you sure?” he says, pulling back from me, flushed, a loop of his hair falling over his forehead, just like in high school. We could be back in my dorm room, for all the progress Desi has made.

“Yes, darling,” I say, and I reach modestly for his cock.

Another ten minutes and he’s finally between my legs, pumping gently, slowly, slowly, making love . Pausing for kisses and caresses until I grab him by the buttocks and begin pushing him. “Fuck me,” I whisper, “fuck me hard.”

He stops. “It doesn’t have to be like that, Amy. I’m not Nick.”

Very true. “I know, darling, I just want you to … to fill me. I feel so empty.”

That gets him. I grimace over his shoulder as he thrusts a few more times and comes, me realizing it almost too late— Oh, this is his pathetic cum-sound —and faking quick oohs and ahhs, gentle kittenish noises. I try to work up some tears because I know he imagines me crying with him the first time.

“Darling, you’re crying,” he says as he slips out of me. He kisses a tear.

“I’m just happy,” I say. Because that’s what those kinds of women say.

I have mixed up some martinis, I announce—Desi loves a decadent afternoon drink—and when he makes a move to put on his shirt and fetch them, I insist he stay in bed.

“I want to do something for you for a change,” I say.

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