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Gone Girl pdf By Gillian Flynn

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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.

Reviews: I loved this book. I will try not to repeat the same accolades from the other reviews: great characters, character-driven plot, clever use of point of view, the fun of unreliable narrators and unexpected twists. I have other aspects to praise: First, I want to rave about the language. The main-characters' voices are wonderfully vivid. The language is witty, figurative, and just plain fun. Flynn takes bad characters, and uses their "badness" to riff on the sounds of words, slang, funny and witty dialogue and wonderful figures of speech. The speech, like most well-written dialogue and first-person narration, distills (but does not mirror) real life, heightens it. The narration pulls us into the character's point of view.

This book is a great surprise. I have started so many books where the writer proves they are not up to the job. For example, I started one suspense novel where a character felt afraid and the author wrote, "like a knife cutting into the back of his throat." Then 20 pages later another character got frightened and the author wrote, "like a knife cutting..." Finally, thirty pages later, another character got frightened and the author wrote the same simile. I closed the book and never read the author again. Many genre books (and a lot of literary books) are badly written (self-consciously, pretentiously, or just plain stupidly). At least 3/4 of all best sellers seem created in the "produce lots of books, amp up the violent conflict, make lots of money" mode. Or else the writers can't write and their reader's don't know the difference. Give them bread, circuses and fictional gun battles. "Gone Girl" is leagues beyond most genre (and literary) novels. I could not find any negative style examples from Gone Girl, and about 1,000 positive examples. No words are waisted in this book. The second point I want to mention is about the unusual ending. (I'm trying not to give anything away.) This type of ending is considered anathema in a number of how-to writing courses. In those courses, the characters are supposed to be sympathetic and triumph, or supposed to be evil and get severely punished. Throughout this novel, the characters do not pull the reader in by being sympathetic (the reader is pulled in by great writing, great story and fascinating characters, not an outpouring of sympathy), or let the readers rejoice when their evil brings stern justice. Good! It's a type of ending that Hitchcock wanted to direct, but it was forbidden (popular-taste-wise) in his time. Could we really be more sophisticated? Third point: The characters are so vivid that we can see our own foibles, egotism and insecurity in them, even when they are loathsome. This character development is a real accomplishment. The vivid characterization is what pulls us in, with some empathy, but not much sympathy. The popularity of this book gives me faith in readers. Maybe we are actually getting smarter (collectively). I hope that this sophisticated novel flies to the top of the best seller list, that we all read it, and that we start demanding books of this quality (in genre and literary fiction).

If there's one thing I've learned, it's that you can never know what goes on between two people behind closed doors. Certainly that idea is at the heart of Gillian Flynn's third thriller, Gone Girl. It's the story Nick and Amy Dunne. Amy has disappeared on the fifth anniversary of their marriage. There are signs of a struggle at the house. Nick is sick with worry. The tale of what happened is relayed in alternating first-person he said/she said chapters. Additional interest and suspense are created by the fact that the two narratives are not on the same timeline. Nick's narrative is taking place in the present day and describes the police investigation into Amy's disappearance and the many surprising details that come to light in the wake of that event. Amy's narrative is in the form of a diary written during the course of their courtship and marriage. As time passes and Amy remains missing, her narrative is steadily moving towards the day of her disappearance. There are plenty of shocking revelations that will come from her as well. The twist is that these are both unreliable narrators--and absolutely fascinating characters! Nick, Amy, and the many supporting characters are terrifically welldrawn. But plot is king here, and Gillian Flynn has constructed a top-notch pageturner. There were twists, turns, surprises, and out and out jaw-droppers all along the way. I couldn't put it down. More than anything, I was just delighted with a mystery that didn't follow the conventional formulas. The structure added real interest to the reading experience, and Flynn kept me guessing until the bitter end. Bravo!

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Gone Girl pdf