Gone Girl
A Novel
(Sprache: Englisch)
#1 NEW YORK TIMES BESTSELLER • The "mercilessly entertaining" (Vanity Fair) instant classic "about the nature of identity and the terrible secrets that can survive and thrive in even the most intimate relationships" (Lev Grossman, Time).
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#1 NEW YORK TIMES BESTSELLER • The "mercilessly entertaining" (Vanity Fair) instant classic "about the nature of identity and the terrible secrets that can survive and thrive in even the most intimate relationships" (Lev Grossman, Time).NAMED ONE OF TIME'S TEN BEST FICTION BOOKS OF THE DECADE
NAMED ONE OF THE TEN BEST BOOKS OF THE YEAR BY Janet Maslin, The New York Times • People • Entertainment Weekly • O: The Oprah Magazine • Slate • Kansas City Star • USA Today • Christian Science Monitor
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. 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?
NAMED ONE OF THE BEST BOOKS OF THE YEAR BY San Francisco Chronicle • St. Louis Post Dispatch • Chicago Tribune • HuffPost • Newsday
"Absorbing . . . In masterly fashion, Flynn depicts the unraveling of a marriage-and of a recession-hit Midwest-by interweaving the wife's diary entries with the husband's first-person account."-New Yorker
"Ms. Flynn writes dark suspense novels that anatomize violence without splashing barrels of blood around the pages . . . Ms. Flynn has much more up her sleeve than a simple missing-person case. As Nick and Amy alternately tell their stories, marriage has never looked so menacing, narrators so unreliable."-The Wall Street Journal
"The story unfolds in precise and riveting prose . . . even while you know you're being
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manipulated, searching for the missing pieces is half the thrill of this wickedly absorbing tale."-O: The Oprah Magazine
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Lese-Probe zu „Gone Girl “
Nick DunneThe Day Of
When I think of my wife, I always think of her head. The shape of it, to begin with. The very first time I saw her, it was the back of the head I saw, and there was something lovely about it, the angles of it. Like a shiny, hard corn kernel or a riverbed fossil. She had what the Victorians would call a finely shaped head. You could imagine the skull quite easily.
I d know her head anywhere.
And what s inside it. I think of that too: her mind. Her brain, all those coils, and her thoughts shuttling through those coils like fast, frantic centipedes. Like a child, I picture opening her skull, unspooling her brain and sifting through it, trying to catch and pin down her thoughts. What are you thinking, Amy? The question I ve asked most often during our marriage, if not out loud, if not to the person who could answer. I suppose these questions stormcloud over every marriage: What are you thinking? How are you feeling? Who are you? What have we done to each other? What will we do?
My eyes flipped open at exactly six a.m. This was no avian fluttering of the lashes, no gentle blink toward consciousness. The awakening was mechanical. A spooky ventriloquist-dummy click of the lids: The world is black and then, showtime! 6-0-0 the clock said in my face, first thing I saw. 6- 0-0. It felt different. I rarely woke at such a rounded time. I was a man of jagged risings: 8:43, 11:51, 9:26. My life was alarmless.
At that exact moment, 6-0-0, the sun climbed over the skyline of oaks, revealing its full summer angry-god self. Its reflection flared across the river toward our house, a long, blaring finger aimed at me through our frail bedroom curtains. Accusing: You have been seen. You will be seen.
I wallowed in bed, which was our New York bed in our new house, which we still called the new house, even though we d been back here for two years. It s a rented house right along the Mississippi River, a house that screams Suburban
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Nouveau Riche, the kind of place I aspired to as a kid from my split-level, shag-carpet side of town. The kind of house that is immediately familiar: a generically grand, unchallenging, new, new, new house that my wife would and did detest.
Should I remove my soul before I come inside? Her fi rst line upon arrival. It had been a compromise: Amy demanded we rent, not buy, in my little Missouri hometown, in her firm hope that we wouldn t be stuck here long. But the only houses for rent were clustered in this failed development: a miniature ghost town of bank-owned, recession-busted, price-reduced mansions, a neighborhood that closed before it ever opened. It was a compromise, but Amy didn t see it that way, not in the least. To Amy, it was a punishing whim on my part, a nasty, selfish twist of the knife. I would drag her, caveman-style, to a town she had aggressively avoided, and make her live in the kind of house she used to mock. I suppose it s not a compromise if only one of you considers it such, but that was what our compromises tended to look like. One of us was always angry. Amy, usually.
Do not blame me for this particular grievance, Amy. The Missouri Grievance. Blame the economy, blame bad luck, blame my parents, blame your parents, blame the Internet, blame people who use the Internet. I used to be a writer. I was a writer who wrote about TV and movies and books. Back when people read things on paper, back when anyone cared about what I thought. I d arrived in New York in the late 90s, the last gasp of the glory days, although no one knew it then. New York was packed with writers, real writers, because there were magazines, real magazines, loads of them. This was back when the Internet was still some exotic pet kept in the corner of the publishing world throw some kibble at it, watch
Should I remove my soul before I come inside? Her fi rst line upon arrival. It had been a compromise: Amy demanded we rent, not buy, in my little Missouri hometown, in her firm hope that we wouldn t be stuck here long. But the only houses for rent were clustered in this failed development: a miniature ghost town of bank-owned, recession-busted, price-reduced mansions, a neighborhood that closed before it ever opened. It was a compromise, but Amy didn t see it that way, not in the least. To Amy, it was a punishing whim on my part, a nasty, selfish twist of the knife. I would drag her, caveman-style, to a town she had aggressively avoided, and make her live in the kind of house she used to mock. I suppose it s not a compromise if only one of you considers it such, but that was what our compromises tended to look like. One of us was always angry. Amy, usually.
Do not blame me for this particular grievance, Amy. The Missouri Grievance. Blame the economy, blame bad luck, blame my parents, blame your parents, blame the Internet, blame people who use the Internet. I used to be a writer. I was a writer who wrote about TV and movies and books. Back when people read things on paper, back when anyone cared about what I thought. I d arrived in New York in the late 90s, the last gasp of the glory days, although no one knew it then. New York was packed with writers, real writers, because there were magazines, real magazines, loads of them. This was back when the Internet was still some exotic pet kept in the corner of the publishing world throw some kibble at it, watch
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Autoren-Porträt von Gillian Flynn
Gillian Flynn hat einen der größten Romane im psychologischen Spannungsbereich unserer Zeit geschrieben. Sie wuchs in Kansas City auf und arbeitete als Journalistin für den San Francisco Examiner und U.S. News & World Report. Sie war die leitende TV-Kritikerin von Entertainment Weekly. Die Autorin lebt nach Stationen in Los Angeles und New York in Chicago.
Bibliographische Angaben
- Autor: Gillian Flynn
- 2012, Internationale Ausgabe, 576 Seiten, Maße: 10,3 x 17,2 cm, Kartoniert (TB), Englisch
- Verlag: Ballantine Books
- ISBN-10: 0385347774
- ISBN-13: 9780385347778
- Erscheinungsdatum: 12.11.2012
Sprache:
Englisch
Pressezitat
Absorbing . . . In masterly fashion, Flynn depicts the unraveling of a marriage and of a recession-hit Midwest by interweaving the wife s diary entries with the husband s first-person account. The New YorkerMs. Flynn writes dark suspense novels that anatomize violence without splashing barrels of blood around the pages . . . Ms. Flynn has much more up her sleeve than a simple missing-person case. As Nick and Amy alternately tell their stories, marriage has never looked so menacing, narrators so unreliable. The Wall Street Journal
The story unfolds in precise and riveting prose . . . even while you know you re being manipulated, searching for the missing pieces is half the thrill of this wickedly absorbing tale. O: The Oprah Magazine
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. Janet Maslin, The New York Times
An ingenious and viperish thriller . . . 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. 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)
It s simply fantastic: terrifying, darkly funny and at times moving. . . . [Gone Girl is] her most intricately twisted and deliciously sinister story, dangerous for any reader
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who prefers to savor a novel as opposed to consuming it whole in one sitting. Michelle Weiner, Associated Press
Gillian Flynn s third novel is both breakneck-paced thriller and masterful dissection of marital breakdown. . . . Wickedly plotted and surprisingly thoughtful, this is a terrifically good read. The Boston Globe
Gone Girl is that rare thing: a book that thrills and delights while holding up a mirror to how we live. . . . Through her two ultimately unreliable narrators, Flynn masterfully weaves the slow trickle of critical details with 90-degree plot turns. . . . Timely, poignant and emotionally rich, Gone Girl will peel away your comfort levels even as you root for its protagonists despite your best intuition. San Francisco Chronicle
Gillian Flynn's barbed and brilliant Gone Girl has two deceitful, disturbing, irresistible narrators and a plot that twists so many times you'll be dizzy. Minneapolis Star-Tribune
Flynn is a master manipulator, deftly fielding multiple unreliable narrators, sardonic humor, and social satire in a story of a marriage gone wrong that makes black comedies like The War of the Roses and Who s Afraid of Virginia Woolf look like scenes from a honeymoon. . . . It is, in a word, amazing. Yvonne Zipp, The Christian Science Monitor
Gone Girl [is] a thriller with an insane twist and an insidiously realistic take on marriage. New York
Brilliantly constructed and consistently absorbing . . . The novel, which twists itself into new shapes, works as a page-turning thriller, but it s also a study of marriage at its most destructive. The Columbus Dispatch
Gillian Flynn s third novel is both breakneck-paced thriller and masterful dissection of marital breakdown. . . . Wickedly plotted and surprisingly thoughtful, this is a terrifically good read. The Boston Globe
Gone Girl is that rare thing: a book that thrills and delights while holding up a mirror to how we live. . . . Through her two ultimately unreliable narrators, Flynn masterfully weaves the slow trickle of critical details with 90-degree plot turns. . . . Timely, poignant and emotionally rich, Gone Girl will peel away your comfort levels even as you root for its protagonists despite your best intuition. San Francisco Chronicle
Gillian Flynn's barbed and brilliant Gone Girl has two deceitful, disturbing, irresistible narrators and a plot that twists so many times you'll be dizzy. Minneapolis Star-Tribune
Flynn is a master manipulator, deftly fielding multiple unreliable narrators, sardonic humor, and social satire in a story of a marriage gone wrong that makes black comedies like The War of the Roses and Who s Afraid of Virginia Woolf look like scenes from a honeymoon. . . . It is, in a word, amazing. Yvonne Zipp, The Christian Science Monitor
Gone Girl [is] a thriller with an insane twist and an insidiously realistic take on marriage. New York
Brilliantly constructed and consistently absorbing . . . The novel, which twists itself into new shapes, works as a page-turning thriller, but it s also a study of marriage at its most destructive. The Columbus Dispatch
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