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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“Ms. Collings, we’re Amy’s parents,” Marybeth was beginning. She tried to touch Jacqueline on the shoulder, and Jacqueline shook her off. “I am sorry for your pain.”

“But not my loss.” Jacqueline stood a good head taller than Marybeth; she glared down on her. “But not my loss ,” she reasserted.

“I’m sorry about … everything,” Marybeth said, and then Rand was next to her, a head taller than Jacqueline.

“What are you going to do about your daughter?” Jacqueline asked. She turned toward our young liaison officer, who tried to hold his ground. “What is being done about Amy? Because she is lying when she says my son kidnapped her. She is lying. She killed him, she murdered him in his sleep, and no one seems to be taking this seriously.”

“It’s all being taken very, very seriously, ma’am,” the young kid said.

“Can I get a quote, Ms. Collings?” asked the reporter.

“I just gave you my quote. Amy Elliott Dunne murdered my son . It was not self-defense. She murdered him.”

“Do you have proof of that?”

Of course she didn’t.

The reporter’s story would chronicle my husbandly exhaustion (his drawn face telling of too many nights forfeited to fear) and the Elliotts’ relief (the two parents cling to each other as they wait for their only child to be officially returned to them) . It would discuss the incompetence of the cops (it was a biased case, full of dead ends and wrong turns, with the police department focused doggedly on the wrong man) . The article would dismiss Jacqueline Collings in a single line: After an awkward run-in with the Elliott parents, an embittered Jacqueline Collings was ushered out of the room, claiming her son was innocent .

Jacqueline was indeed ushered out of the room into another, where her statement would be recorded and she would be kept out of the way of the much better story: the Triumphant Return of Amazing Amy.

When Amy was released to us, it all began again. The photos and the tears, the hugging and the laughter, all for strangers who wanted to see and to know: What was it like? Amy, what does it feel like to escape your captor and return to your husband? Nick, what does it feel like to get your wife back, to get your freedom back, all at once?

I remained mostly silent. I was thinking my own questions, the same questions I’d thought for years, the ominous refrain of our marriage: What are you thinking, Amy? How are you feeling? Who are you? What have we done to each other? What will we do?

It was a gracious, queenly act for Amy to want to come home to our marriage bed with her cheating husband. Everyone agreed. The media followed us as if we were a royal wedding procession, the two of us whizzing through the neon, fast-food-cluttered streets of Carthage to our McMansion on the river. What grace Amy has, what moxie. A storybook princess. And I, of course, was the lickspittle hunchback of a husband who would bow and scrape the rest of my days. Until she was arrested. If she ever got arrested.

That she was released at all was a concern. More than a concern, an utter shock. I saw them all filing out of the conference room where they questioned her for four hours and then let her go: two FBI guys with alarmingly short hair and blank faces; Gilpin, looking like he’d swallowed the greatest steak dinner of his life; and Boney, the only one with thin, tight lips and a little V of a frown. She glanced at me as she walked past, arched an eyebrow, and was gone.

Then, too quickly, Amy and I were back in our home, alone in the living room, Bleecker watching us with shiny eyes. Outside our curtains, the lights of the TV cameras remained, bathing our living room in a bizarrely lush orange glow. We looked candlelit, romantic. Amy was absolutely beautiful. I hated her. I was afraid of her.

“We can’t really sleep in the same house—” I began.

“I want to stay here with you.” She took my hand. “I want to be with my husband. I want to give you the chance to be the kind of husband you want to be. I forgive you.”

“You forgive me? Amy, why did you come back? Because of what I said in the interviews? The videos?”

“Wasn’t that what you wanted?” she said. “Wasn’t that the point of the videos? They were perfect—they reminded me of what we used to have, how special it was.”

“What I said, that was just me saying what you wanted to hear.”

“I know—that’s how well you know me!” Amy said. She beamed. Bleecker began figure-eighting between her legs. She picked him up and stroked him. His purr was deafening. “Think about it, Nick, we know each other. Better than anyone in the world now.”

It was true that I’d had this feeling too, in the past month, when I wasn’t wishing Amy harm. It would come to me at strange moments—in the middle of the night, up to take a piss, or in the morning pouring a bowl of cereal—I’d detect a nib of admiration, and more than that, fondness for my wife, right in the middle of me, right in the gut. To know exactly what I wanted to hear in those notes, to woo me back to her, even to predict all my wrong moves … the woman knew me cold. Better than anyone in the world, she knew me. All this time I’d thought we were strangers, and it turned out we knew each other intuitively, in our bones, in our blood.

It was kind of romantic. Catastrophically romantic.

“We can’t just pick up where we were, Amy.”

“No, not where we were,” she said. “Where we are now. Where you love me and you’ll never do wrong again.”

“You’re crazy, you’re literally crazy if you think I’m going to stay. You killed a man,” I said. I turned my back to her, and then I pictured her with a knife in her hand and her mouth growing tight as I disobeyed her. I turned back around. Yes, my wife must always be faced.

“To escape him.”

“You killed Desi so you had a new story, so you could come back and be beloved Amy and not ever have to take the blame for what you did. Don’t you get it, Amy, the irony? It’s what you always hated about me—that I never dealt with the consequences of my actions, right? Well, my ass has been well and duly consequenced. So what about you? You murdered a man, a man I assume loved you and was helping you, and now you want me to step in his place and love you and help you, and … I can’t. I cannot do it. I won’t do it.”

“Nick, I think you’ve gotten some bad information,” she said. “It doesn’t surprise me, all the rumors that are going about. But we need to forget all that. If we are to go forward. And we will go forward. All of America wants us to go forward. It’s the story the world needs right now. Us. Desi’s the bad guy. No one wants two bad guys. They want to like you, Nick. The only way you can be loved again is to stay with me. It’s the only way.”

“Tell me what happened, Amy. Was Desi helping you all along?”

She flared at that: She didn’t need a man’s help, even though she clearly had needed a man’s help. “Of course not!” she snapped.

“Tell me. What can it hurt, tell me everything, because you and I can’t go forward with this pretend story. I’ll fight you every step of the way. I know you’ve thought of everything. I’m not trying to get you to slip up—I’m tired of trying to outthink you, I don’t have it in me. I just want to know what happened. I was a step away from death row, Amy. You came back and saved me, and I thank you for that—do you hear me? I thank you, so don’t say I didn’t later on. I thank you. But I need to know. You know I need to know.”

“Take off your clothes,” she said.

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