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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“Flowers or … something,” she continued. “So I didn’t think, I just flung open the door. And there he stood, Desi, with this look on his face. Determined. As if he’d been girding himself up for this all along. And I was holding the handle … to the Judy puppet. Did you find the puppets?” She smiled up at me tearily. She looked so sweet.

“Oh, I found everything you left for me, Amy.”

“I had just found the handle to the Judy puppet—it had fallen off—I was holding it when I opened the door, and I tried to hit him, and we struggled, and he clubbed me with it. Hard. And the next thing I knew …”

“You had framed me for murder and disappeared.”

“I can explain everything, Nick.”

I stared at her a long hard moment. I saw days under the hot sun stretched across the sand of the beach, her hand on my chest, and I saw family dinners at her parents’ house, with Rand always refilling my glass and patting me on the shoulder, and I saw us sprawled on the rug in my crummy New York apartment, talking while staring at the lazy ceiling fan, and I saw mother of my child and the stunning life I’d planned for us once. I had a moment that lasted two beats, one, two , when I wished violently that she were telling the truth.

“I actually don’t think you can explain everything,” I said. “But I am going to love watching you try.”

“Try me now.”

She tried to take my hand, and I flung her off. I walked away from her, took a breath, and then turned to face her. My wife must always be faced.

“Go ahead, Nick. Try me now.”

“Okay, sure. Why was every clue of the treasure hunt hidden in a place where I had … relations with Andie?”

She sighed, looked at the floor. Her ankles were raw. “I didn’t even know about Andie until I saw it on TV … while I was tied to Desi’s bed, hidden away in his lake house.”

“So that was all … coincidence?”

“Those were all places that were meaningful to us,” she said. A tear slid down her face. “Your office, where you reignited your passion for journalism.”

I snuffed.

“Hannibal, where I finally understood how much this area means to you. Your father’s house—confronting the man who hurt you so much. Your mother’s house, which is now Go’s house, the two people who made you such a good man. But … I guess it doesn’t surprise me that you’d like to share those places with someone you”—she bowed her head—“had fallen in love with. You always liked repeats.”

“Why did each of those places end up including clues that implicated me in your murder? Women’s undies, your purse, your diary . Explain your diary , Amy, with all the lies.”

She just smiled and shook her head like she was sorry for me. “Everything, I can explain everything,” she said.

I looked in that sweet tear-stained face. Then I looked down at all the blood. “Amy. Where’s Desi?”

She shook her head again, a sad little smile.

I moved to call the police, but a knock on our door told me they were already here.

AMY ELLIOTT DUNNE

THE NIGHT OF THE RETURN

I still have Desi’s semen inside me from the last time he raped me, so the medical examination goes fine. My rope-wreathed wrists, my damaged vagina, my bruises—the body I present them is textbook. An older male doctor with humid breath and thick fingers performs the pelvic exam—scraping and wheezing in time—while Detective Rhonda Boney holds my hand. It is like being clutched by a cold bird claw. Not comforting at all. Once she breaks into a grin when she thinks I’m not looking. She is absolutely thrilled that Nick isn’t a bad guy after all. Yes, the women of America are collectively sighing.

Police have been dispatched to Desi’s home, where they’ll find him naked and drained, a stunned look on his face, a few strands of my hair in his clutches, the bed soaked in blood. The knife I used on him, and on my bonds, will be nearby on the floor where I dropped it, dazed, and walked barefoot, carrying nothing out of the house but his keys—to the car, to the gate—and climbed, still slick with his blood, into his vintage Jaguar and returned like some long-lost faithful pet, straight back home to my husband. I’d been reduced to an animal state; I didn’t think of anything but getting back to Nick.

The old doctor tells me the good news; no permanent damage and no need for a D&C—I miscarried too early. Boney keeps clutching my hand and murmuring, My God, what you’ve been through, do you think you feel up to answering a few questions? That fast, from condolences to brass tacks. I find ugly women are usually overly deferential or incredibly rude.

You are Amazing Amy, and you’ve survived a brutal kidnapping involving repeated assaults. You’ve killed your captor, and you’ve made it back to a husband you’ve discovered was cheating. You:

a) Put yourself first and demand some time alone to collect yourself.

b) Hold it together just a little longer so you can help the police.

c) Decide which interview to give first—you might as well get something out of the ordeal, like a book deal.

Answer: B. Amazing Amy always puts others first.

I’m allowed to clean myself up in a private room in the hospital, and I change into a set of clothes Nick put together for me from the house—jeans with creases from being folded too long, a pretty blouse that smells of dust. Boney and I drive from the hospital to the police station in near silence. I ask weakly after my parents.

“They’re waiting for you at the station,” Boney says. “They wept when I told them. With joy. Absolute joy and relief. We’ll let them get some good hugs in with you before we do our questions, don’t worry.”

The cameras are already at the station. The parking lot has that hopeful, overlit look of a sports stadium. There is no underground parking, so we have to pull right up front as the madding crowd closes in: I see wet lips and spittle as everyone screams questions, the pops of flashbulbs and camera lights. The crowd pushes and pulls en masse, jerking a few inches to the right, then the left, as everyone tries to reach me.

“I can’t do this,” I say to Boney. A man’s meaty palm smacks against the car window as a photographer tries to keep his balance. I grab her cold hand. “It’s too much.”

She pats me and says, wait . The station doors open, and every officer in the building files down the stairs and forms a line on either side of me, holding the press back, creating an honor guard for me, and Rhonda and I run in holding hands like reverse newlyweds, rushing straight up to my parents who are waiting just inside the doorway, and everyone gets the photos of us clutching each other with my mom whispering sweetgirlsweetgirlsweetgirl and my dad sobbing so loudly he almost chokes.

There is more whisking away of me, as if I haven’t been whisked away quite enough already. I am deposited in a closet of a room with comfortable but cheap office chairs, the kind that always seem to have bits of old food woven into the fabric. A camera blinking up in the corner and no windows. It is not what I pictured. It is not designed to make me feel safe.

I am surrounded by Boney, her partner, Gilpin, and two FBI agents up from St. Louis who remain nearly silent. They give me water, and then Boney starts.

B: Okay, Amy, first we have to thank you sincerely for talking with us after what you’ve been through. In a case like this, it’s very important to get everything down while the memory is fresh. You can’t imagine how important that is. So it’s good to talk now. If we can get all these details down, we can close the case, and you and Nick can go back to your lives.

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