Marriage can be a real killer. One of the most critically acclaimed suspense writers of our time, New York Times best seller Gillian Flynn, takes that statement to its darkest place in this unpausable 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.
©2012 Gillian Flynn (P)2012 Random House Audio
"Flynn masterfully lets this tale of a marriage gone toxically wrong gradually emerge through alternating accounts by Nick and Amy, both unreliable narrators in their own ways. The reader comes to discover their layers of deceit through a process similar to that at work in the imploding relationship. Compulsively readable, creepily unforgettable, this is a must read for any fan of bad girls and good writing." (Publishers Weekly)
Author of Stitch Alchemy
I've listened to all of Gillian Flynn's book and this was enjoyable and exciting. "Dark Places" is still my favorite of her books though and I'd rate that a full five stars.
Gone Girl was unique in the way the characters were revealed little by little in alternating chapters. On the surface we were introduced to a married couple who seem to be sharing the intimacies of their marries. As the book progresses it's apparent that something is wrong because the stories diverge in a way that makes it clear someone is not telling the truth. During the course of the book I could not tell who to believe, which built the drama and excitement as I tried to figure out the puzzle.
I enjoyed having separate voices, which allowed for very distinct characters to emerge.
I could not wait to get back to this as the story raced to an impending drama. Flynn kept me constantly surprised as she dosed out the real story a little at a time. One of the most exciting listens I've had for awhile.
Any Gillian Flynn is worth a listen because of her innovative plots and interesting characters. Definitely one of my favorite writers and I'm glad she's finally broken out of the pack with a bestseller!
Probably nothing by the author. I'd give the narrators a shot. They did their work well.
I know that the world is full of horrible people. I know that this book reflects that. This is just not what I enjoy, vindictive, selfish characters that never seem to have any redeeming value.
The lady cop. I can't remember her name. She's the only one who seemed likable. Margo, Nick's sister was ok, but she was snarky and mean in her own way. She was loyal, though.
I know art demands a reaction. I guess if that is what the author wants, she got it. But to go for a bad reaction just for reaction's sake seems cheap to me. I just really disliked the book. It never got better, either. I kept expecting some sort of turn that would redeem ... something. I would recommend not reading this. Some people loved it. Not me.
I guess part of the appeal of the book is the "dark and twisted characters" but in spite of any novelty that might hold, I loathed them and struggled to finish the book.
Hasn't put me off the genre but certainly put me off the author.
Thought the performances were about right for what the author was trying to convey but since I didn't like that, the performances didn't count for much.
Started this book several times hoping I would "find out" what the buzz was all about. After I finished it - finally - I realized that the characters really were despicable people and that I had wasted my time.
This is one of those stories that, like most things that are bad for us, appeals to our baser instincts. Its only saving grace is the narration. Whelan and Heborne capture the paranoid delusions of the two main characters, their mean, selfish, petty, sickeningly narcissistic self-love, with amazing range and authenticity. You will get to the end and hate yourself for slogging through the mud with these two people with the hope that you will have earned or learned something of value. But in this story, no one pays the price of his or her immoral, unethical, and illegal actions. Moreover, Flynn's ending is cowardly. Along with the allegiance of her reader, she looses control of her characters. I was left begging for Nick and Amy simply to shut the hell up.
After this, a cleansing listen is in order. Perhaps Henry James.
Gen-Xer, software engineer, and lifelong avid reader. Soft spots for sci-fi, fantasy, and history, but I'll read anything good.
Gone Girl is 2012's The Girl With the Dragon Tattoo, that gritty suspense thriller that everyone and their mother was reading. For the first half, it sucked me in with well-drawn characters, a setup that has its fingers on the pulse of the times, and a delicious sense of Hitchcockian misdirection.
The two narrators are Nick and Amy, a thirty-something pair of would-be yuppies whose magazine careers and New York City lives were derailed by the Great Recession. They have now downsized their dreams to the Midwest, characterized as the home of corn chip casseroles, bland earnestness, and shopping at Walmart. There, Nick took care of his ailing parents and opened a bar with the last of Amy's trust fund money. And, there, their marriage fell apart.
Starting from page one, we get Nick's side of things: a perpetually unsatisfied wife and a life that seems to be going nowhere. Then, on their fifth wedding anniversary, Amy disappears, leaving behind signs of a struggle and a trail of clues in the form of an anniversary scavenger hunt. Nick blinks and stumbles his way through the ensuing police investigation, and there's the sense that he's not telling us everything.
Interspersed with Nick's narrative are journal entries from Amy, painting a picture of a fairytale marriage that sours after a husband stops trying. And there's just a hint of control freak insecurity, perhaps triggered in part by being the inspiration for the goody-two-shoes protagonist of a series of saccharine children's books written by Amy's own parents over the decades, the source of her small family fortune.
It doesn't take long before the reader gets the sense that Nick, while somewhat evasive and not exactly the husband of the year, is falling into a trap. Clues in the investigation and public opinion are going against him.
Then comes a twist, and we learn that a few things about Nick and Amy’s marriage have been misrepresented. Here, the novel began to get unbelievable for me, though the suspense remained enjoyable. Would Nick be arrested? How would his sleazeball lawyer, his media appearances, his oddball sister, Amy's wealthy, creepy ex-boyfriend, a deranged father, and a couple of desperate types in a short-term housing park play into the plot? As Nick's defenses steadily crumble around him, against a far craftier opponent, Flynn keeps us guessing, even rooting for a guy who was initially hard to like.
When the story reaches its endgame, it escalates into pure absurdity, a sort of screw-turning, Stephen King-like nightmare scenario (think of him in suspense mode, not monster mode). Somewhere, a few psychologists are doing face palms. But, if you're willing to shut off your brain, it's fun, in a deliciously dark way.
All in all, this novel showed a lot of promise for roughly the first half. Flynn obviously *reads*, and has a sense of craft. I loved the unreliable narrators and the ambiguity. Unfortunately, though, once the game is revealed, the novel morphs steadily into airport bookstore territory. This isn't necessarily bad, but I'd hoped for a bit more psychological complexity. Oh well.
The two audiobook narrators are good. Kirby Heyborne, who performs Nick's parts, ranges from bemused calm to barely suppressed anger. Julia Whelan, who takes Amy's, has a girlish chipperness that works well.
I completely trusted the reviews of a few people I follow and it paid off. I would have never looked for this book as it would never make my radar list.
This book is pretty course (meaning vulgar language and content), which I always enjoy if it represents reality and written into the story as a natural aspect of the story. In this case the author accomplished just that.
The story bounces back and forth from the perspectives of the husband and wife, respectively and follow different timelines, interestingly enough. The author pulls it off brilliantly as sometimes this can lead to confusion or a hard-to-follow story line.
In the end there are certainly a few hard-to-believe aspects of the story that could be interpreted as holes, but I simply decided to ignore and enjoy the story, and it worked.
The narrators did a great job and the production was good (as you probably know many multiple narrator efforts are butchered - but not this one).
Thinker Meets Explorer
I brought Gone Girl on a trip with me to London, and while I enjoyed the sights there, I also couldn't put this book down when I got back to my hotel each night. I didn't like the wife Amy's voice at first - she felt a little too self-absorbed and flippant - but as the mystery unfolded, I could see just why.
Like the couple at the center of this novel, you somehow get sucked into their dysfunctional marriage and cannot let go until the very (twisted) end.
This was my first time listening to Gillian Flynn, and it won't be the last--she has a fresh, eye-opening way of shedding insight into marriage and relationships. (Just listen to the "cool girl" passage--it's worth your credit alone.)
I had high hopes for this book given how highly it was rated by others. I was disappointed to find how negative and unlikable the characters were. I listen to fiction to escape and/or to learn, and I like when there is someone interesting to care about or pull for. This story felt to me like something written by a depressed writer in winter in Brooklyn - it just didn't capture my imagination or hold much heart or suspense for me.
Hmmm not sure this was a bit dark for my tastes.
No, I don't want to know anything more about either of those people.
I like stories about "real" people, but these two take it to an extreme - they are way to sick for me to want to know as much as I know about them. The first part was entertaining and intrieging, the second half I found quite depressing. On the good side - it was well crafted and narrated and kept me very interested until close to the end when I saw no hope in sight and then I felt cheated - why should I have cared about two suck sick individuals.
I'll start by saying I literally hated how often this author misused the word "literally". Add to that the fact that both protagonists (husband and wife) are ugly, hateful characters, though in different ways. Even the more benign characters, like "the girl"s parents, are willfully blind to their situation and passive aggressive in dealing with their daughter, so saying they're benign is not very high praise. I really didn't care much about what happened because I disliked the characters so much, and the best I can say is that the pathological protagonist was inventive and intelligent in creating cruel situations. I don't mean cruel in the physical sense (no scenes of torture, or anything), but in the emotional and psychological sense. Nasty. I won't bother with another of her books, but I knew that by the second time she misused "literally"
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