Gone Girl Novel by Gillian Flynn PDF Free Download, Overview, Summary, Reviews, Videos, Quotes, Analysis, More By Author, Get book, Q&A.
Gone Girl Book PDF Free Download
So Who Are You? What Harm Have We Caused One Another?
When Nick Dunne’s Wife Amy Mysteriously Vanishes On The Morning Of Their Fifth Wedding Anniversary, He Is Left Questioning These Concerns. Police Believe Nick. His Fear Of Amy Led To Her Keeping Secrets From Him, According To Her Friends. He Vouches That It Is Untrue. His Computer Was Examined By Police, Who Discovered Odd Searches. He Claims That He Did Not Create Them. The Constant Calls To His Cellphone Are Another Issue.
American Novelist And Entertainment Weekly Television Reviewer Gillian Flynn Writes About Television. Sharp Objects, For Which She Received The 2007 Ian Fleming Steel Dagger For Best Thriller, Dark Places, And Her Third And Best-selling Book Gone Girl Are The Three Books She Has So Far Authored.
Numerous Writers, Including Stephen King, Have Praised Her Novel. The Grisly Tale Centres On A Missouri Town’s Serial Murderer And The Reporter Who Has Just Arrived From Chicago To Cover The Story. Family Dysfunction, Violence, And Self-harm Are Among The Themes.
The Book Won In The Final Two Categories After Being Nominated For The 2007 Mystery Writers Of America Edgar Award For Best First Novel By An American Author, Crime Writers’ Association Duncan Lawrie, Cwa New Blood, And Ian Fleming Steel Daggers.
Flynn Was Born In Kansas City, Missouri, And Now Resides In Chicago. She Completed Her Undergraduate Studies At The University Of Kansas And Met The Requirements For A Master’s Degree At Northwestern University.
Writing This Review Is Going To Be Challenging Since I’m Torn Between How Much I Enjoyed This Book And How Much I Should Have Given It A Higher Rating. One Reason Is Because I Believe The Second Half Much Outperforms The First, And Although Though This Is Ms. Flynn’s Least Favourite Novel, I Can See In Some Respects Why Other Critics Believe It To Be Her Best.
Let Me Pose This Query: Is It Feasible To Write A Book Review Objectively? Can A Book Possibly Be Objectively “Good” Even If Some Readers Don’t Really Like It? To Provide A Very Extreme Example, I Found Proust’s Swann’s Way To Be Quite Difficult To Read And I Couldn’t Say I Loved It, But That Doesn’t Make It A Terrible Book. I Can’t Even Begin To Suggest That Proust Is Anything Other Than A Literary Master, Can I? I’d Prefer Not To Try.
You Already Know That Flynn Is Not Exactly Proust, So I Won’t Say It Again. But While I Read Gone Girl, I Kept Having Some Of The Same Old Thoughts Come To Me Since I Believe This Is The Book That Most Exhibits Flynn’s Literary Skill.
Also For Delving Into The Murky Corners Of Psyche. Sharp Objects And Dark Places Is A Crazy, Savage Novel That Will Captivate You, Keep You Reading, And Rot Your Brain. They Eat You; Not You; They Eat Them. I Finished Reading Both Of Flynn’s Earlier Books In A Day Or Two.
Unlike Gone Girl, Which I Attempted To Read Five Times Before Giving Up On, I Took A Week To Finish Before Returning To It. To Put That In Perspective, It Took Me The Same Amount Of Time To Read War And Peace As It Did To Read Flynn’s Most Recent Book.
Nevertheless, Isn’t It Good? How Can I Not Laud A Novel That So Deftly Dissects A Husband And Wife’s Minds? Her Finest Effort To Date In Terms Of Writing, Originality, And Ingenuity. In Terms Of Pleasure, I Had A Lot Of Difficulty. The Fact That Gone Girl Moves Considerably More Slowly Than Flynn’s Previous Two Books Is Both A Strength And A Drawback.
It Enables The Gradual, Deft Painting Of A Picture Of This Marriage And Its Many Secrets, Of Amy And Nick’s Mental Condition. It Is Dazzling And Intense. But I Believe It All Boils Down To The Fact That I Wasn’t Very Interested In The Background Information On The Couple’s Financial Struggles.
I Believe This Is The Reason Why I Found The Passages In Which They Complain About How Miserable Their Lives Are – Moving From A Large Mansion In New York To A Somewhat Smaller One In Missouri* – To Be Extremely Tiresome.
I’m Accustomed To Ms. Flynn Giving Me People That Have Valid Reasons To Moan About Life—the Outcasts, The Profoundly Damaged, And The Lowlifes. Rich, Spoiled Folks Don’t Make Me Feel Anything. However, This Novel Is Absolutely Fantastic On Its Own.
Trolls Have Begun To Attack My Review Because I Miscalculated The Size Of The Houses; Apparently, The One In Missouri Was Larger (How This Matters, Other Than To Enhance My Argument, I Don’t Know). I Sincerely Apologise If I Misled You About The Size Of The Mansion In Order To Persuade You To Read Or Not Read This Book.
Synopsis Of Gone Girl (Novel)
The Psychological Suspense Novel Gillian Flynn’s Gone Girl Tells The Story Of A Failed Marriage And A Psychopath Who Would Do Everything To Get Retribution. Flynn Builds On The Domestic Noir Subgenre By Adding Multiple Story Twists That Go Against What The Reader Anticipates, Furthering The Subgenre. The Reader’s Capacity To Believe The Storyteller Is The Main Expectation That Is Defied. The Book Is Divided Into Chapters That Are Alternately Recounted By Nick, The Husband, And Amy, His Wife. This Narrative’s Dual Narrators—nick Delivering His Side Of The Story And Amy Telling Hers—are Both Lying, And The Many Point-of-view Changes Create Uncertainty About Who Is Speaking The Truth.
The Unreliability Of Both Narrators Makes It Necessary For The Reader To Continually Assess And Scrutinise The Data That Both Nick And Amy Provide. The Reader Must Contrast The Many Versions Of The Narrative In Order To Identify The “Protagonist” Or “Good Guy” And The “Antagonist” Or “Bad Guy.” Who Is The “Hero” Here If Both Narrators Are “Bad Guys”? Amy, An American Girl, Is Either A Psychopath Or A Violent Spouse. Is Nick Dunne A Murderer Or Just An Unfaithful Husband?
Amy Dunne Vanishes On Their Fifth Wedding Anniversary. The Focus Of The Ensuing Police Probe Is Amy’s Husband, And The Probe Into Her Disappearance Quickly Transforms Into A Probe Into A Murder. Nick’s Peculiar And Improper Behaviour Quickly Draws The Attention Of The Police, As Well As His Family And Friends And The Police Themselves.
Through Amy’s Diaries And Nick’s Memories, The Tale Of Their Love And Marriage Develops In A Number Of Unexpected Ways. At A Party, Amy And Nick First Meet. They Both Reside In New York City And Both Work As Authors. They Fall In Love Right Away And Are Married Roughly Two Years Later. When They Both Lose Their Jobs, Everything Starts To Fall Apart. They Return To Nick’s Hometown Of Carthage, Missouri, To Take Care For His Mother When She Is Diagnosed With Terminal Cancer. Their Marriage Starts To Drastically Deteriorate At This Time.
Nick And Amy Are Both Quite Miserable. As A Part-time College Lecturer, Nick Starts A Committed Relationship With A 23-year-old Student. One Of The Major Plot Twists Is That Nick Is Unaware That Amy Is Aware Of The Relationship. Amy Plans Her Retaliation By Fabricating Her Own Disappearance And Accusing Nick Of Killing Her.
Nick Is Not Completely Innocent, However; He Also Plays Mind Tricks. He Discovers What Amy Has Done As He Follows The Hints She Has Left For Him In The Shape Of Their Customary Anniversary Treasure Hunt. He Persuades Her Via Televised Appearances That He Has Changed And That She Has Prevailed In Their Marital Power Struggle. She Returns, Having Killed Her “Kidnapper” After Framing An Ex-college Lover For The Crime.
In An Effort To Keep The Upper Hand, Nick And Amy Compete To Finish Their Versions Of The Narrative First. Nick’s Book Paints Amy As A Murderous Psychopath, While Amy’s Presents Herself As The Victim Of An Unfaithful, Greedy Husband And An Obsessive Ex-boyfriend. When Amy Informs Nick That She Is Expecting Their Kid, Nick Is Astounded. He Burns His Tell-all Book And Decides To Remain Married In Order To Shield His Son From Amy. Now That Nick Is Totally And Irrevocably Under Her Control, Amy Is Happy To Publish Her Version Of The Tale In The Hopes That It Will Become A Best-seller.
Gone Girl (Novel) Reviews
Anthony Lane Estimates That There Are Around “Twenty-one People” Who Haven’t Read Gillian Flynn’s “Gone Girl.” I Belong To Them. I Was Disappointed That I Hadn’t Read The Book When It Was Out Two Years Ago After Seeing The Movie This Past Weekend Since I Had Enjoyed It So Much. The Movie “Gone Girl” Also Struck Me As One Of Those Experiences That Falls Under The “Cultural Uncertainty Principle”: You Can Watch The Movie Or Read The Book, But You Can’t Fully Embrace Both Since They’ll Compete For The Same Mental Space And Obscure One Another. In Essence, You Must Choose An Experience. The Benefit Of My Decision Is That I Really Enjoyed David Fincher’s Movie On Its Own Terms, In All Of Its Abstract, Intellectual, And Postmodern Glory.
According To What I’ve Heard, The Book Version Of “Gone Girl” Is A Crime Novel. It’s A Captivating, Clever Thriller In Which A Major Twist Occurs Halfway Through. (Spoiler Alert: I’ll Talk About That Turn Later.) I’m Told That The Book’s Concreteness Is Only One Of Its Many Virtues. The Book Is Full With Texture And Detail, Both Forensic And Psychological, Not Because It Is Plausible Per Se. The Events In The Book Make Sense, And Nick And Amy’s Voices, Thoughts, And Actions Seem Plausible To Come From Real People.
None Of It Applies To David Fincher’s “Gone Girl.” Although Gillian Flynn Wrote The Screenplay, The Movie Isn’t Concerned With Becoming Convincing As A Crime Story. The Film Blurs The Lines Between Genre Fiction And Postmodern Fiction; It Is Decidedly Surreal In The Style Of “Fight Club,” A Film In Which The Actual And The Symbolic Coexisted In The Same Piece Of Reality. Its Setting Is Flimsy, Its Characters Are Cyphers, And Its Violence Is Stylized. The Critic Ted Gioia Refers To “Gone Girl” As A “Postmodern Mystery” Because It Allows Us To Indulge In The “Reassuring Heritage” Of The Traditional Mystery, Which Seems Like It’s Building Towards A Tidy Solution, Even As We Enjoy “The Fun Of Toppling It Over And Watching The Pieces Fall Where They May.”
The Heroes And Villains In Fincher’s “Gone Girl” Aren’t People But Stories, Like In Many Postmodern Narratives. We Really Hope That The Comfortable, Familiar Ideas Will Prevail (They Don’t). The Movie Is Really So Aware Of Itself That None Of The Tales It Tells Can Be Taken At Face Value. According To What My Colleague Richard Brody Wrote, The Drama And Characters In The Film Have Been Simplified To Reveal Their “Underlying Mythic Power.” The Anti-myth “Gone Girl” Is Also True. You’re Not Supposed To Believe Amy (Rosamund Pike) When She Refers To Her Plot Against Nick (Ben Affleck) As “Marriage.” As Poisonous As The Myth Of The Ideal Marriage Is, So Too Is The Myth Of The Ongoing “War Of The Sexes.” Are There Any Stories We Can Tell Ourselves About Marriage That Ring True? Is The Question Posed By The Film.
If That Query Seems Familiar, It’s Because Fincher Has, In Some Ways, Returned To The Frameworks Of “Fight Club” With “Gone Girl,” Substituting A Married Couple For Tyler Durden And His Gang Of Disgruntled Brothers. In Both Tales, The Protagonists Rebel Against The Oppressive Myth Of Attainable Perfection By Substituting The Myth Of Transcendent, Real, Liberating Destruction. According To Tyler Durden, “Advertising Has Us Chasing Cars And Clothes, Working Jobs We Hate So We Can Buy Sh*t We Don’t Need.” “We’ve All Been Raised Watching Television To Believe That One Day We’d All Be Millionaires, Movie Gods, And Rock Stars, But We Won’t.” Durden Adopts A Seductive, Violent, And Ostensibly More Genuine Idea Of “Real” Manliness As A Response To His Disillusionment With Modern Masculinity, But This Alternative Proves To Be A Disastrous Delusion. In “Gone Girl,” The Oppressive Myth Is The Myth Of Coupledom Rather Than The Myth Of Masculinity. But The Proposed Remedy Is The Same: “We’re So Cute I Want To Punch Us In The Face,” Says Amy.
Gone Girl Script
Gillian Flynn Grew Up In Kansas City. Her Parents Were Community College Professors. She Graduated From The University Of Kansas And Then Earned Her Master’s Degree At Northwestern. She Then Went To Write For Entertainment Weekly For Ten Years Before Writing Her Debut Novel In 2006 Called Sharp Objects, Now An Hbo Limited Series Starring Amy Adams. Flynn Also Wrote Dark Places Which Was Adapted Into A Movie Starring Charlize Theron As Well As The Original Gone Girl Novel.
“gone Girl,” In A Sense, Is “fight Club” Squared. To Explore The Positive And Negative Sides Of The Manliness Myth, Fincher Had Only To Propose A Single Character, A Man With A “disassociated” Personality (Brad Pitt’s Enraged Tyler Durden Is The Alter Ego Of Edward Norton’s Unnamed, Milquetoast Protagonist). “gone Girl” Demands Two Bifurcated People, Each Of Whom Must Play Both The Victim And The Aggressor. And The Mythos Of Coupledom Is More Complex And Troubled Than The Mythos Of Manliness. Even Back In 1999, When “fight Club” Came Out, There Was Something Trumped-up And Artificial About The Idea That Men Were Experiencing A Crisis Of Masculine Disenchantment. (The Urgency Of That Crisis, If It Did Exist, Certainly Seems To Have Faded.) Coupledom, On The Other Hand, Is And Remains Genuinely Fraught Territory. While Our Cultural Imagination No Longer Fixates On The Great War Or The Western Frontier, The Idea Of The Perfect Couple (And, Especially, The Perfect Wife) Is Still Alive And Well.
“gone Girl” Is Fascinating Because It Gets At What Is Unsettling About Coupledom: Our Suspicion That, In Some Fundamental Sense, It Necessarily Entails Victimization. Just As “fight Club” Showed That Manliness And Violence Were Imaginatively Inseparable, “gone Girl” Raises The Possibility That Marriage And Victimhood Are Inseparable, Too. In Real Life, This Is A Widespread Suspicion, Sometimes Justified, Sometimes Not. We’re More Aware Than Ever Of The Prevalence Of Hidden Domestic Abuse; We’re Cognizant Of The Widespread Unfairness Of The Economic Arrangements Between Men And Women. We Understand That Marriages That Look Respectable Can Also Hide A Lot. At The Same Time, Our Concepts Of Masculinity And Femininity—and Of Personhood, Success, And Freedom—have Grown Less Compatible With The Compromises Of Coupled Life. The Men’s And Women’s Magazines For Which Nick And Amy Worked Tell Us That Our Ideal Selves Are Urban, Maximally Attractive, And Maximally Single, With Absolute Career Freedom, No Children, And Plenty Of Time For The Gym. To Be In A Couple, In Short, Is To Be In A Power Relationship. And In Power Relationships, There Are Always Winners And Losers.
Gone Girl Follows The Classic Film Story Structure Really Well. Like Many Of David Fincher’s Other Movies, Gone Girl Takes Full Advantage Of What Makes Hollywood Stories Work On A Structural Level.
Anthony Lane Estimates That There Are Around “Twenty-one People” Who Haven’t Read Gillian Flynn’s “Gone Girl.” I Belong To Them. I Was Disappointed That I Hadn’t Read The Book When It Was Out Two Years Ago After Seeing The Movie This Past Weekend Since I Had Enjoyed It So Much. The Movie “Gone Girl” Also Struck Me As One Of Those Experiences That Falls Under The “Cultural Uncertainty Principle”: You Can Watch The Movie Or Read The Book, But You Can’t Fully Embrace Both Since They’ll Compete For The Same Mental Space And Obscure One Another. In Essence, You Must Choose An Experience. The Benefit Of My Decision Is That I Really Enjoyed David Fincher’s Movie On Its Own Terms, In All Of Its Abstract, Intellectual, And Postmodern Glory.
According To What I’ve Heard, The Book Version Of “Gone Girl” Is A Crime Novel. It’s A Captivating, Clever Thriller In Which A Major Twist Occurs Halfway Through. (Spoiler Alert: I’ll Talk About That Turn Later.) I’m Told That The Book’s Concreteness Is Only One Of Its Many Virtues. The Book Is Full With Texture And Detail, Both Forensic And Psychological, Not Because It Is Plausible Per Se. The Events In The Book Make Sense, And Nick And Amy’s Voices, Thoughts, And Actions Seem Plausible To Come From Real People.
None Of It Applies To David Fincher’s “Gone Girl.” Although Gillian Flynn Wrote The Screenplay, The Movie Isn’t Concerned With Becoming Convincing As A Crime Story. The Film Blurs The Lines Between Genre Fiction And Postmodern Fiction; It Is Decidedly Surreal In The Style Of “Fight Club,” A Film In Which The Actual And The Symbolic Coexisted In The Same Piece Of Reality. Its Setting Is Flimsy, Its Characters Are Cyphers, And Its Violence Is Stylized. The Critic Ted Gioia Refers To “Gone Girl” As A “Postmodern Mystery” Because It Allows Us To Indulge In The “Reassuring Heritage” Of The Traditional Mystery, Which Seems Like It’s Building Towards A Tidy Solution, Even As We Enjoy “The Fun Of Toppling It Over And Watching The Pieces Fall Where They May.”
The Heroes And Villains In Fincher’s “Gone Girl” Aren’t People But Stories, Like In Many Postmodern Narratives. We Really Hope That The Comfortable, Familiar Ideas Will Prevail (They Don’t). The Movie Is Really So Aware Of Itself That None Of The Tales It Tells Can Be Taken At Face Value. According To What My Colleague Richard Brody Wrote, The Drama And Characters In The Film Have Been Simplified To Reveal Their “Underlying Mythic Power.” The Anti-myth “Gone Girl” Is Also True. You’re Not Supposed To Believe Amy (Rosamund Pike) When She Refers To Her Plot Against Nick (Ben Affleck) As “Marriage.” As Poisonous As The Myth Of The Ideal Marriage Is, So Too Is The Myth Of The Ongoing “War Of The Sexes.” Are There Any Stories We Can Tell Ourselves About Marriage That Ring True? Is The Question Posed By The Film.
If That Query Seems Familiar, It’s Because Fincher Has, In Some Ways, Returned To The Frameworks Of “Fight Club” With “Gone Girl,” Substituting A Married Couple For Tyler Durden And His Gang Of Disgruntled Brothers. In Both Tales, The Protagonists Rebel Against The Oppressive Myth Of Attainable Perfection By Substituting The Myth Of Transcendent, Real, Liberating Destruction. According To Tyler Durden, “Advertising Has Us Chasing Cars And Clothes, Working Jobs We Hate So We Can Buy Sh*t We Don’t Need.” “We’ve All Been Raised Watching Television To Believe That One Day We’d All Be Millionaires, Movie Gods, And Rock Stars, But We Won’t.” Durden Adopts A Seductive, Violent, And Ostensibly More Genuine Idea Of “Real” Manliness As A Response To His Disillusionment With Modern Masculinity, But This Alternative Proves To Be A Disastrous Delusion. In “Gone Girl,” The Oppressive Myth Is The Myth Of Coupledom Rather Than The Myth Of Masculinity. But The Proposed Remedy Is The Same: “We’re So Cute I Want To Punch Us In The Face,” Says Amy.
