Gone Girl

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Overview

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 ...

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Gone Girl

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Overview

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.

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Editorial Reviews

From Barnes & Noble

Gillian Flynn's Gone Girl was a true word-of-mouth hit almost from the first week of its mid-2012 release, landing, then settled snuggly on the Barnes & Noble Bestseller list for almost two years. This subtle crime thriller tracks the story of a missing wife through her last diary entries and narratives of her husband's well-hidden double life. In English, the novel was praised as a "dazzling breakthrough.... wily, mercurial, subtly layered and populated by characters so well imagined that they're hard to part with..." Now in trade paperback and NOOK Book; destined to repeat its hardcover success.

The New York Times - Janet Maslin
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.
The New York Times Book Review - Marilyn Stasio
What makes Flynn so fearless a writer is the way she strips her characters of their pretenses and shows no mercy while they squirm…Flynn dares the reader to figure out which instances of marital discord might flare into a homicidal rage.
The Washington Post - Yvonne Zipp
Fans of unreliable narrators, rejoice: You can't believe anything either spouse tells you in Flynn's acid-inked pages.
Publishers Weekly
There’s the evil you can see coming—and then there’s Amy Elliott. Superficially, this privileged Gotham golden girl, inspiration for her psychologist-parents’ bestselling series of children’s books, couldn’t be further from the disturbingly damaged women of Edgar-finalist Flynn’s first two books, Sharp Objects and Dark Places. But as Amy’s husband, Nick Dunne, starts to realize after she disappears from their rented mansion in his Missouri hometown on their fifth anniversary—and he becomes the prime suspect in her presumed murder—underestimating Amy’s sick genius and twisted gamesmanship could prove fatal. Then again, charmer Nick may not be quite the corn-fed innocent he initially appears. 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. Agent: Stephanie Rostan, Levine Greenberg. (June)
Library Journal
Flynn’s twisty, trenchant crime novel about a woman’s disappearance, the mounting evidence against her husband, and the details of their disintegrating marriage has gotten plenty of attention and more than stands up to the hype. It’s a marvel of subverted genre conventions, brilliant writing, subtle characterization, and genuine surprises. The police, the public, and television crime shows all focus on Nick Dunne in the wake of his wife’s disappearance. He’s acting strangely and might be hiding something, but did he kill her? (LJ 3/1/12)—Stephanie Klose

(c) Copyright 2011. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Library Journal
With her third novel (after the acclaimed Sharp Objects and Dark Places), Flynn cements her place among that elite group of mystery/thriller writers who unfailingly deliver the goods. On the day of her fifth wedding anniversary, Amy Dunne vanishes from her home under suspicious circumstances. Through a narrative that alternates between Amy's diary entries and her husband Nick's real-time experiences in the aftermath of her disappearance, the complicated relationship that was their marriage unfolds, leaving the reader with a growing list of scenarios, suspects, and motives to consider. Meanwhile, the police, the press, and the public focus intently on Nick, the journalist-turned-bar owner who uprooted Amy from her comfortable New York life to return to his Missouri hometown. VERDICT Once again Flynn has written an intelligent, gripping tour de force, mixing a riveting plot and psychological intrigue with a compelling prose style that unobtrusively yet forcefully carries the reader from page to page. [See Prepub Alert, 12/19/11.]—Nancy McNicol, Hamden P.L., CT
Kirkus Reviews
A perfect wife's disappearance plunges her husband into a nightmare as it rips open ugly secrets about his marriage and, just maybe, his culpability in her death. Even after they lost their jobs as magazine writers and he uprooted her from New York and spirited her off to his childhood home in North Carthage, Mo., where his ailing parents suddenly needed him at their side, Nick Dunne still acted as if everything were fine between him and his wife, Amy. His sister Margo, who'd gone partners with him on a local bar, never suspected that the marriage was fraying, and certainly never knew that Nick, who'd buried his mother and largely ducked his responsibilities to his father, stricken with Alzheimer's, had taken one of his graduate students as a mistress. That's because Nick and Amy were both so good at playing Mr. and Ms. Right for their audience. But that all changes the morning of their fifth anniversary when Amy vanishes with every indication of foul play. Partly because the evidence against him looks so bleak, partly because he's so bad at communicating grief, partly because he doesn't feel all that grief-stricken to begin with, the tide begins to turn against Nick. Neighbors who'd been eager to join the police in the search for Amy begin to gossip about him. Female talk-show hosts inveigh against him. The questions from Detective Rhonda Boney and Detective Jim Gilpin get sharper and sharper. Even Nick has to acknowledge that he hasn't come close to being the husband he liked to think he was. But does that mean he deserves to get tagged as his wife's killer? Interspersing the mystery of Amy's disappearance with flashbacks from her diary, Flynn (Dark Places, 2009, etc.) shows the marriage lumbering toward collapse--and prepares the first of several foreseeable but highly effective twists. One of those rare thrillers whose revelations actually intensify its suspense instead of dissipating it. The final pages are chilling.
From the Publisher
A People Magazine Best Book of the Year
New York Times Janet Maslin's 10 Favorite Books of 2012
Edgar Award Nominee for Best Novel
Anthony Award Nominee for Best Novel

“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… A great, breathless read...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)

“[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

“How did things get so bad? That’s the reason to read this book. Gillian Flynn — whose award-winning Dark Places and Sharp Objects also shone a dark light on weird and creepy, not to mention uber dysfunctional characters — delves this time into what happens when two people marry and one spouse has no idea who their beloved really is.”
USA Today, Carol Memmott

“It’s simply fantastic: terrifying, darkly funny and at times moving. The minute I finished it I wanted to start it all over again. Admirers of Gillian Flynn’s previous books, Sharp Objects and Dark Places, will be ecstatic over Gone Girl, her most intricately twisted and deliciously sinister story, dangerous for any reader who prefers to savor a novel as opposed to consuming it whole in one sitting….”
Associated Press, Michelle Weiner

“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.”
Boston Globe

“That adage of no one knows what goes on behind closed doors moves the plot of Gone Girl, Gillian Flynn's suspenseful psychological thriller… Flynn's unpredictable plot of Gone Girl careens down an emotional highway where this couple dissects their marriage with sharp acumen… Flynn has shown her skills at gripping tales and enhanced character studies since her debut Sharp Objects, which garnered an Edgar nod, among other nominations. Her second novel Dark Places made numerous best of lists. Gone Girl reaffirms her talent.” 
South Florida Sun-Sentinel, Oline Cogdill

“A great crime novel, however, is an unstable thing, entertainment and literature suspended in some undetermined solution. Take Gillian Flynn’s Gone Girl, the third novel by one of a trio of contemporary women writers (the others are Kate Atkinson and Tana French) who are kicking the genre into a higher gear… You couldn’t say that this is a crime novel that’s ultimately about a marriage, which would make it a literary novel in disguise. The crime and the marriage are inseparable. As Gone Girl works itself up into an aria of ingenious, pitch-black comedy (or comedic horror — it’s a bit of both), its very outlandishness teases out a truth about all magnificent partnerships: Sometimes it’s your enemy who brings out the best in you, and in such cases, you want to keep him close.”
Salon
 
“Ms. Flynn writes dark suspense novels that anatomize violence without splashing barrels of blood around the pages… But as in her other books, Ms. Flynn has much more up her sleeve than a simple missing-person case. As Nick and Amy's alternately tell their stories, marriage has never looked so menacing, narrators so unreliable.” 
Wall Street Journal

“A portrait of a marriage so hilariously terrifying, it will make you have a good hard think about who the person on the other side of the bed really is. This novel is so bogglingly twisty, we can only give you the initial premise: on their fifth anniversary, Nick Dunne’s beloved wife Amy disappears, and all signs point to very foul play indeed. Nick has to clear his name before the police finger him for Amy’s murder.”
Time

“Readers who prefer more virulent strains of unreality will appreciate the sneaky mind games of Gillian Flynn’s Gone Girl, a thriller rooted in the portrait of a tricky and troubled marriage.”
New York Times

“[Flynn has] quite outdone herself with a tale of marital strife so deliciously devious that it moves the finish line on The War of the Roses… A novel studded with disclosures and guided by purposeful misdirection… Flynn delivers a wickedly clever cultural commentary as well as a complex and driven mystery… What fun this novel is.”
New York Daily News
 
“Flynn’s brilliantly constructed and consistently absorbing third novel begins on the Dunnes’ fifth wedding anniversary… 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.”
Columbus Dispatch
 
“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. This "catastrophically romantic" story about Nick and Amy is a "fairy tale reverse transformation" that reminded me of Patricia Highsmith in its psychological suspense and Kate Atkinson in its insanely clever plotting.”
Minneapolis Star-Tribune
 
“For a creepy, suspenseful mystery, Ms. Pearl suggested Gone Girl by Gillian Flynn, a novel due out this week. "You will not be able to figure out the end at all. I could not sleep the night after I read it. It's really good," Ms. [Nancy] Pearl said. "It's about the way we deceive ourselves and deceive others."”
Pittsburgh Post-Gazette

“Gillian Flynn's new novel, 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
 
“Flynn’s third noir thriller recently launched to even more acclaim than the first two novels, polishing her reputation for pushing crime fiction to a new literary level and as a craftsman of deliciously twisting and twisted plots.”
Kansas City Star
 
“I picked up Gone Girl because the novel is set along the Mississippi River in Missouri and the plot sounded intriguing. I put it down two days later, bleary-eyed and oh-so-satisfied after reading a story that left me surprised, disgusted, and riveted by its twists and turns… A good story presents a reader with a problem that has to be resolved and a few surprises along the way. A great story gives a reader a problem and leads you along a path, then dumps you off a cliff and into a jungle of plot twists, character revelations and back stories that you could not have imagined. Gone Girl does just that.”
St. Louis Post-Dispatch

“To call Gillian Flynn's new novel almost review-proof isn't a put-down, it's a fact. That's because to give away the turn-of-the-screw in this chilling portrait of a marriage gone wrong would be a crime. I can say that Gone Girl is an ingenious whodunit for both the Facebook generation and old-school mystery buffs. Whoever you are, it will linger, like fingerprints on a gun… Flynn's characters bloom and grow, like beautiful, poisonous plants. She is a Gothic storyteller for the Internet age.”
Cleveland Plain Dealer

“The setup of Gone Girl lulls readers with what appears to be a done-too-often plot, but, oh, how misleading that is. This thriller is told in alternating voices, a risky form of narrative that works masterfully here because the characters are so distinct and convincing…. The first half of the story leads readers on a merry chase and gives the term "red herring" new meaning. The second half takes readers on a calculated descent into madness. The ending…is one of the most chilling we've seen in recent years.”
The Sacramento Bee, Allen Pierleoni

“If you do have room in your summer reading for new mysteries, pack Gillian Flynn's Gone Girl. It's my pick for one of the summer's best.”
Milwaukee Journal-Sentinel

“In this fast-paced thriller, Flynn tracks the disintegration of a marriage and asks: How does a couple go from uttering passionate vows to living separate lives?”
All You

“Gillian Flynn’s terrific psychological thriller, Gone Girl, wanders into an alternate criminality, to the darkest corners of mind and matrimony, using Occam’s razor to slit its own throat… Aside from the plot’s high entertainment value, Flynn has buttressed her book with humor and great writing.”
The Daily Beast

Gone Girl is a dark, satisfying, psychological thriller… Gone Girl is at times brilliant, compelling, surprising, diabolical, and it’s definitely dark and twisted… It ranks as one of the best books I’ve read in the past year…I’d highly recommend it if you’re a fan of psychological thrillers or just plain great fiction.”
—Examiner.com

“Pick up the sharp, mercilessly entertaining psychological thriller Gone Girl, written by Gillian Flynn as though with a razor, giggling all the while.”
—Vanity Fair

Gone Girl [is] a thriller with an insane twist and an insidiously realistic take on marriage.”
New York magazine
 
“A twisting, turning, zooming-up-the-charts thriller.”
Real Simple, announcing their book club pick
 
“An unnerving, gorgeously written marital thriller that features one of the most compelling narrators in recent memory… Anyway, go read Gone Girl. It's quite good.”
The Atlantic Wire
 
“Buy Gone Girl and don't settle down for a long winter's nap or any kind of nap. I read it in two days, nonstop, useless for anything but my own incredible pleasure.”
—Liz Smith, New York Social Diary
 
“Gillian Flynn’s killer thriller is unputdownable, and just when you think you know where she’s going, she’s gone.”
—DailyCandy.com
 
“A satisfyingly scathing take on a marriage so broken even the truth is built on lies.”
Family Circle
 
“If, instead, you're a fan of gripping, well-crafted tales about complex relationships, try Gone Girl by Gillian Flynn.”
—AARP.org
 
“After a chilling, bombshell twist, you won’t know which clues to trust nor whom to believe.”
Woman’s Day
 
Flynn’s ability to reach further and further into the deep, dark recesses of the human psyche brings a much greater edge and feeling of suspense to this novel. Gone Girl is a fast-paced, always surprising page-turner of a book…Gone Girl is a superbly crafted novel by a talented and daring young writer and it will keep you guessing until the very last sentence.”
Cincinnati City Beat, John Kelly
 
“A highly original thriller that’s also a razor-sharp depiction of a relationship gone off the rails.”
Parade
 
“Masterfully plotted.”
—Vogue.com
 
“Dark yet funny with a devious twist, this is everything that made Flynn’s Sharp Objects a bestseller—but better.”
Redbook
 
“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.”
—Oprah.com

“Full of midnight-black wit and gorgeous writing…About halfway through the book, something happens…That’s the moment you should check the clock and firmly put the book down if you have to rise early the next day. Because trust me, if you keep reading, you won’t stop till you finish it.”
Dallas Morning News, Joy Tipping

“Gillian Flynn's third mystery is burned-coffee black and flavored with cyanide. (As far as I'm concerned, those are compliments of the highest order.)…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. Veteran mystery readers may see as far as the opening of the second act, but Flynn has more surprises in store on her way to the sucker-punch of an ending. It is, in a word, amazing.”
Christian Science Monitor, Yvonne Zipp

“A perfect wife’s disappearance plunges her husband into a nightmare as it rips open ugly secrets about his marriage and, just maybe, his culpability in her death… One of those rare thrillers whose revelations actually intensify its suspense instead of dissipating it. The final pages are chilling.”
Kirkus (starred review)

“[W]hat looks like a straightforward case of a husband killing his wife to free himself from a bad marriage morphs into something entirely different in Flynn’s hands. As evidenced by her previous work (Sharp Objects, 2006, and Dark Places, 2009), she possesses a disturbing worldview, one considerably amped up by her twisted sense of humor. Both a compelling thriller and a searing portrait of marriage, this could well be Flynn’s breakout novel. It contains so many twists and turns that the outcome is impossible to predict.”
Booklist (starred review)

"Flynn cements her place among that elite group of mystery/thriller writers who unfailingly deliver the goods...Once again Flynn has written an intelligent, gripping tour de force, mixing a riveting plot and psychological intrigue with a compelling prose style that unobtrusively yet forcefully carries the reader from page to page." 
Library Journal (starred review)

"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 (starred review)

Gone Girl is one of the best ­and most frightening ­portraits of psychopathy I've ever read. Nick and Amy manipulate each other ­with savage, merciless and often darkly witty dexterity. This is a wonderful and terrifying book about how the happy surface normality and the underlying darkness can become too closely interwoven to separate.” 
—Tana French, New York Times bestselling author of Faithful Place and Into the Woods
 
“The plot has it all. I have no doubt that in a year’s time I’m going to be saying that this is my favorite novel of 2012. Brilliant.” 
—Kate Atkinson, New York Times bestselling author of Started Early, Took My Dog and Case Histories
 
Gone Girl builds on the extraordinary achievements of Gillian Flynn's first two books and delivers the reader into the claustrophobic world of a failing marriage. We all know the story, right? Beautiful wife disappears; husband doesn't seem as distraught as he should be under the circumstances. But Flynn takes this sturdy trope of the 24-hour news cycle and turns it inside out, providing a devastating portrait of a marriage and a timely, cautionary tale about an age in which everyone's dreams seem to be imploding.” 
—Laura Lippman, New York Times bestselling author of The Most Dangerous Thing and I’d Know You Anywhere
 
“Gillian Flynn’s Gone Girl is like Scenes from a Marriage remade by Alfred Hitchcock, an elaborate trap that’s always surprising and full of characters who are entirely recognizable. It’s a love story wrapped in a mystery that asks the eternal question of all good relationships gone bad: How did we get from there to here?” 
—Adam Ross, New York Times bestselling author of Mr. Peanut

“Just this minute I finished a week of feeling betrayed, misled, manipulated, provoked, and misjudged, not to mention having all my expectations confounded.  Considering how compulsively I kept coming back for more, I am seriously thinking of going back to page one and doing it all again.” 
—Arthur Phillips, author of The Tragedy of Arthur
 
“I cannot say this urgently enough: you have to read Gone Girl. It’s as if Gillian Flynn has mixed us a martini using battery acid instead of vermouth and somehow managed to make it taste really, really good. Gone Girl is delicious and intoxicating and delightfully poisonous. It’s smart (brilliant, actually). It’s funny (in the darkest possible way). The writing is jarringly good, and the story is, well...amazing.  Read the book and you'll discover—among many other treasures—just how much freight (and fright) that last adjective can bear.” 
—Scott Smith, New York Times bestselling author of The Ruins and A Simple Plan
 
“Gillian Flynn’s Gone Girl reminds me of Patricia Highsmith at the top of her game. With Gone Girl, she’s placed herself at the top of the short list of authors who have mastered the art of crafting a tense story with terrifyingly believable characters.” 
—Karin Slaughter, New York Times bestselling author of Fallen

"Gone Girl manages to be so many stellar things all at once—suspenseful, inventive, chilling, funny, unsettling—as well as beautifully plotted and fiercely well-written. Gillian Flynn is a thrilling writer.”
—Kate Christensen, author of The Great Man  

“Reminds suspense readers of the old Alfred Hitchcock stories...This is one puzzle you do not want to miss.”
—Amy Lignor, Suspense Magazine

“Absorbing thriller…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
 
“A psychological thriller reminiscent of Hitchcock.”
Aspen Daily News
 
“Devilishly clever he said/she said thriller.”
AJC.com, Atlanta Journal Constitution
 
“Flynn’s sly and rippingly suspenseful novel, Gone Girl, is one of those novels it’s hard not to try and shanghai other people into reading, as in immediately. Flynn (Sharp Objects, Dark Places) lays down a vivid and plainspoken narrative that can read like the most jet-fueled of airport thrillers but is still bejeweled with sparkling asides and dead-on commentary. Her writing is, as needed, funny, perceptive, headslappingly honest, or sometimes an amalgam of the three. That this all happens in a book whose plot seems at first ripped from a Dateline NBC true crime is all the more impressive.”
—PopMatters.com

“A riveting novel, a Midwestern noir with completely unreliable narrators.”
Knoxville Metro Plus

“Part thriller, part macabre love story…The book is told deliciously…The twists and turns are never obvious.”
New York Post

“Dark yet funny with a devious twist, this is everything that made Flynn’s Sharp Objects a bestseller—but better.”
Redbook

The summer thriller is filled with enough suspense and twists to keep any beach reader happy, but it is also a book about writing. The main characters are avid readers, and they write letters, articles, journals, kid’s books and memoirs. The novel references other books, little Easter eggs nestled in the plot.”
MediaBistro

“A fiendishly clever tale of a marriage gone toxic, and revenge exacted to a disturbingly lethal degree.”
BookPage

“Flynn keeps us guessing with equal parts charm and menace. An addictive read.”
More magazine, Alice LaPlante

“After a chilling, bombshell twist, you won’t know which clues to trust nor whom to believe. Told from two perspectives, Gone Girl forces you to ask yourself, what would you do and who dunnit?”
Woman’s Day

Flynn’s ability to reach further and further into the deep, dark recesses of the human psyche brings a much greater edge and feeling of suspense to this novel. Gone Girl is a fast-paced, always surprising page-turner of a book. It’s not only a murder mystery, but a commentary on the disappearance in the last decade of nearly everything we hold near and dear, from jobs to our parents’ health and welfare to the landscape of our cities and towns…Beginning with Amy’s sudden disappearance, to the local police department’s slipshod investigation and the media’s obsessive coverage, Gone Girl is a thrilling roller coaster of a ride with enough twists and turns to give the reader whiplash…Flynn deserves credit for creating not just an exciting murder mystery, but also forcing us to look at the lies we tell ourselves.  Gone Girl is a superbly crafted novel by a talented and daring young writer and it will keep you guessing until the very last sentence.”
Cincinnati City Beat

Gone Girl is a superbly constructed, ingeniously paced and absolutely terrifying.  You begin by thinking that all marriages are a bit like this: they start with high hopes and get bogged down in nagging and money worries.  But then the psycho-drama creeps up on you with chilling power.  A five-star suspense mystery.”
—A.N. Wilson, Reader’s Digest (UK)

Gone Girl is as skillfully creepy as her previous work… A chilling, stylish read about another unknowable woman.”
—Elle (UK)

“The married duo in Gillian Flynn’s superb third novel takes the idea of unreliable narrators to a whole new level. When Nick Dunne’s lovely wife Amy is violently abducted on their fifth wedding anniversary, the police and the press immediately put Nick in the frame for her murder.  Amy’s friends testify that she was afraid of her husband, and the missing woman’s diary backs up their impressions.  Nick’s computer is full of inexplicable searches, his mobile phone is plagued by mysterious calls and his own inner monologue offers a darker perspective on amazing Amy and the state of their turbulent marriage.  Flynn keeps the accelerator firmly to the floor, ratcheting up the tension with wildly unexpected plot twists, contradictory stories and the tantalizing feeling that nothing is as it seems.  Deviously good.”
Marie Claire (UK)

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Product Details

  • ISBN-13: 9780307588364
  • Publisher: Crown Publishing Group
  • Publication date: 6/5/2012
  • Pages: 432
  • Sales rank: 61
  • Product dimensions: 6.20 (w) x 9.30 (h) x 1.50 (d)

Meet the Author

Gillian Flynn

GILLIAN FLYNN is the author of the New York Times bestseller Dark Places, which was a New Yorker Reviewers’ Favorite, Weekend TODAY Top Summer Read, Publishers Weekly Best Book of 2009, and Chicago Tribune Favorite Fiction choice; and the Dagger Award winner Sharp Objects, which was an Edgar nominee for Best First novel, a BookSense pick, and a Barnes & Noble Discover selection. Her work has been published in twenty-eight countries. She lives in Chicago with her husband and son.

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Read an Excerpt

Gone Girl

A Novel
By Gillian Flynn

Crown

Copyright © 2012 Gillian Flynn
All right reserved.

ISBN: 9780307588364

Chapter One

Nick Dunne
the 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 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 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 first 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 it dance on its little leash,
oh quite cute, it definitely won’t kill us in the night. Think about it: a
time when newly graduated college kids could come to New York and
get paid to write. We had no clue that we were embarking on careers
that would vanish within a decade.
 
I had a job for eleven years and then I didn’t, it was that fast. All
around the country, magazines began shuttering, succumbing to
a sudden infection brought on by the busted economy. Writers (my
kind of writers: aspiring novelists, ruminative thinkers, people whose
brains don’t work quick enough to blog or link or tweet, basically old,
stubborn blowhards) were through. We were like women’s hat makers
or buggy- whip manufacturers: Our time was done. Three weeks after
I got cut loose, Amy lost her job, such as it was. (Now I can feel Amy
looking over my shoulder, smirking at the time I’ve spent discussing
my career, my misfortune, and dismissing her experience in one sentence.
That, she would tell you, is typical. Just like Nick, she would
say. It was a refrain of hers: Just like Nick to . . . whatever followed,
whatever was just like me, was bad.) Two jobless grown- ups, we spent
weeks wandering around our Brooklyn brownstone in socks and pajamas,
ignoring the future, strewing unopened mail across tables and
sofas, eating ice cream at ten a.m. and taking thick afternoon naps.
 
Then one day the phone rang. My twin sister was on the other
end. Margo had moved back home after her own New York layoff
a year before— the girl is one step ahead of me in everything, even
shitty luck. Margo, calling from good ole North Carthage, Missouri,
from the house where we grew up, and as I listened to her voice, I
saw her at age ten, with a dark cap of hair and overall shorts, sitting
on our grandparents’ back dock, her body slouched over like an old
pillow, her skinny legs dangling in the water, watching the river fl ow
over fish- white feet, so intently, utterly self- possessed even as a child.
Go’s voice was warm and crinkly even as she gave this cold news:
Our indomitable mother was dying. Our dad was nearly gone— his
(nasty) mind, his (miserable) heart, both murky as he meandered
toward the great gray beyond. But it looked like our mother would
beat him there. About six months, maybe a year, she had. I could tell
that Go had gone to meet with the doctor by herself, taken her studious
notes in her slovenly handwriting, and she was teary as she tried
to decipher what she’d written. Dates and doses.
 
“Well, fuck, I have no idea what this says, is it a nine? Does that
even make sense?” she said, and I interrupted. Here was a task, a
purpose, held out on my sister’s palm like a plum. I almost cried with
relief.
 
 “I’ll come back, Go. We’ll move back home. You shouldn’t have to
do this all by yourself.”
 
She didn’t believe me. I could hear her breathing on the other end.
 
“I’m serious, Go. Why not? There’s nothing here.”
 
A long exhale. “What about Amy?”
 
That is what I didn’t take long enough to consider. I simply assumed
I would bundle up my New York wife with her New York interests,
her New York pride, and remove her from her New York parents—
leave the frantic, thrilling futureland of Manhattan behind— and
transplant her to a little town on the river in Missouri, and all would
be fine.
 
I did not yet understand how foolish, how optimistic, how, yes,
just like Nick I was for thinking this. The misery it would lead to.
 
“Amy will be fine. Amy . . .” Here was where I should have said,
“Amy loves Mom.” But I couldn’t tell Go that Amy loved our mother,
because after all that time, Amy still barely knew our mother. Their
few meetings had left them both baffled. Amy would dissect the conversations
for days after—“And what did she mean by . . . ,” as if my
mother were some ancient peasant tribeswoman arriving from the
tundra with an armful of raw yak meat and some buttons for bartering,
trying to get something from Amy that wasn’t on offer.
 
Amy didn’t care to know my family, didn’t want to know my
birthplace, and yet for some reason, I thought moving home would
be a good idea.
 
My morning breath warmed the pillow, and I changed the subject in
my mind. Today was not a day for second- guessing or regret, it was a
day for doing. Downstairs, I could hear the return of a long- lost sound:
Amy making breakfast. Banging wooden cupboards (rump- thump!),
rattling containers of tin and glass (ding- ring!), shuffling and sorting
a collection of metal pots and iron pans (ruzz-shuzz!). A culinary
orchestra tuning up, clattering vigorously toward the finale, a cake
pan drumrolling along the floor, hitting the wall with a cymballic
crash. Something impressive was being created, probably a crepe,
because crepes are special, and today Amy would want to cook something
special.
 
It was our five- year anniversary.
 
I walked barefoot to the edge of the steps and stood listening,
working my toes into the plush wall- to- wall carpet Amy detested on
principle, as I tried to decide whether I was ready to join my wife.
Amy was in the kitchen, oblivious to my hesitation. She was humming
something melancholy and familiar. I strained to make it out— a folk
song? a lullabye?—and then realized it was the theme to M*A*S*H.
Suicide is painless. I went downstairs.
 
I hovered in the doorway, watching my wife. Her yellow- butter
hair was pulled up, the hank of ponytail swinging cheerful as a jumprope,
and she was sucking distractedly on a burnt fingertip, humming
around it. She hummed to herself because she was an unrivaled
botcher of lyrics. When we were first dating, a Genesis song came on
the radio: “She seems to have an invisible touch, yeah.” And Amy
crooned instead, “She takes my hat and puts it on the top shelf.”
When I asked her why she’d ever think her lyrics were remotely, possibly,
vaguely right, she told me she always thought the woman in the
song truly loved the man because she put his hat on the top shelf. I
knew I liked her then, really liked her, this girl with an explanation
for everything.
 
There’s something disturbing about recalling a warm memory and
feeling utterly cold.
 
Amy peered at the crepe sizzling in the pan and licked something
off her wrist. She looked triumphant, wifely. If I took her in my arms,
she would smell like berries and powdered sugar.
 
When she spied me lurking there in grubby boxers, my hair in full
Heat Miser spike, she leaned against the kitchen counter and said,
“Well, hello, handsome.”
 
Bile and dread inched up my throat. I thought to myself: Okay, go.
I was very late getting to work. My sister and I had done a foolish
thing when we both moved back home. We had done what we always
talked about doing. We opened a bar. We borrowed money from Amy
to do this, eighty thousand dollars, which was once nothing to Amy
but by then was almost everything. I swore I would pay her back,
with interest. I would not be a man who borrowed from his wife— I
could feel my dad twisting his lips at the very idea. Well, there are all
kinds of men, his most damning phrase, the second half left unsaid,
and you are the wrong kind.
 
But truly, it was a practical decision, a smart business move. Amy
and I both needed new careers; this would be mine. She would pick
one someday, or not, but in the meantime, here was an income, made
possible by the last of Amy’s trust fund. Like the McMansion I rented,
the bar featured symbolically in my childhood memories— a place
where only grown- ups go, and do whatever grown- ups do. Maybe
that’s why I was so insistent on buying it after being stripped of my
livelihood. It’s a reminder that I am, after all, an adult, a grown man,
a useful human being, even though I lost the career that made me
all these things. I won’t make that mistake again: The once plentiful
herds of magazine writers would continue to be culled— by the
Internet, by the recession, by the American public, who would rather
watch TV or play video games or electronically inform friends that,
like, rain sucks! But there’s no app for a bourbon buzz on a warm day
in a cool, dark bar. The world will always want a drink.
 
Our bar is a corner bar with a haphazard, patchwork aesthetic. Its
best feature is a massive Victorian back bar, dragon heads and angel
faces emerging from the oak— an extravagant work of wood in these
shitty plastic days. The remainder of the bar is, in fact, shitty, a showcase
of the shabbiest design offerings of every decade: an Eisenhowerera
linoleum floor, the edges turned up like burnt toast; dubious
wood- paneled walls straight from a ’70s home- porn video; halogen
floor lamps, an accidental tribute to my 1990s dorm room. The ultimate
effect is strangely homey— it looks less like a bar than someone’s
benignly neglected fixer- upper. And jovial: We share a parking
lot with the local bowling alley, and when our door swings wide, the
clatter of strikes applauds the customer’s entrance.
 
We named the bar The Bar. “People will think we’re ironic instead
of creatively bankrupt,” my sister reasoned.
 
Yes, we thought we were being clever New Yorkers— that the
name was a joke no one else would really get, not get like we did.
Not meta- get. We pictured the locals scrunching their noses: Why’d
you name it The Bar? But our first customer, a gray- haired woman in
bifocals and a pink jogging suit, said, “I like the name. Like in Breakfast
at Tiffany’s and Audrey Hepburn’s cat was named Cat.”
 
We felt much less superior after that, which was a good thing.
I pulled into the parking lot. I waited until a strike erupted from
the bowling alley— thank you, thank you, friends— then stepped
out of the car. I admired the surroundings, still not bored with the
broken- in view: the squatty blond- brick post office across the street
(now closed on Saturdays), the unassuming beige office building just
down the way (now closed, period). The town wasn’t prosperous, not
anymore, not by a long shot. Hell, it wasn’t even original, being one
of two Carthage, Missouris— ours is technically North Carthage,
which makes it sound like a twin city, although it’s hundreds of miles
from the other and the lesser of the two: a quaint little 1950s town
that bloated itself into a basic midsize suburb and dubbed it progress.
Still, it was where my mom grew up and where she raised me and Go,
so it had some history. Mine, at least.
 
As I walked toward the bar across the concrete- and- weed parking
lot, I looked straight down the road and saw the river. That’s what
I’ve always loved about our town: We aren’t built on some safe bluff
overlooking the Mississippi— we are on the Mississippi. I could walk
down the road and step right into the sucker, an easy three- foot drop,
and be on my way to Tennessee. Every building downtown bears
hand- drawn lines from where the river hit during the Flood of ’61,’75,
’84, ’93, ’07, ’08, ’11. And so on.
 
The river wasn’t swollen now, but it was running urgently, in strong
ropy currents. Moving apace with the river was a long single- fi le line
of men, eyes aimed at their feet, shoulders tense, walking steadfastly
nowhere. As I watched them, one suddenly looked up at me, his face
in shadow, an oval blackness. I turned away.
 
I felt an immediate, intense need to get inside. By the time I’d gone
twenty feet, my neck bubbled with sweat. The sun was still an angry
eye in the sky. You have been seen.
 
My gut twisted, and I moved quicker. I needed a drink.
 

Continues...

Excerpted from Gone Girl by Gillian Flynn Copyright © 2012 by Gillian Flynn. Excerpted by permission of Crown, a division of Random House, Inc.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

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Reading Group Guide

A Reader’s Guide for Gone Girl by Gillian Flynn
 
For additional features, visit www.gillian-flynn.com.
 
In order to provide reading groups with the most informed and thought-provoking questions possible, it is necessary to reveal important aspects of the plot of this novel. If you have not finished reading Gone Girl, we respectfully suggest that you wait before reviewing this guide.
 
Introduction
Deceit, infidelity, suspicion . . . and that’s only the beginning.
When Nick and Amy fall in love, they are the confident, handsome man and the beautiful, privileged young woman embracing in front of their Brooklyn Heights brownstone and sharing a laugh at the expense of less blissful couples. Eventually, their picture-perfect union falters: Amy grows weary of the “cool girl” image she’s portrayed; Nick gives rein to old impulses and easy lies. As with many marriages, friction works its way into everyday exchanges, and the glow of the honeymoon fades. But with Amy and Nick, that fracture takes a much darker turn.
 
In a story full of surprising twists, Gillian Flynn’s Gone Girl tracks the course of a marriage gone spectacularly wrong. For the protagonists, it’s a psychological battle with everything at stake; for the reader, an excavation of human failings and incredible depths of betrayal . . . and a mystery whose resolution is every bit as troubling as its beginning.
 
Questions and Topics for Discussion
1. Do you like Nick or Amy? Did you find yourself picking a side? Do you think the author intends for us to like them? Why or why not?
 
2. Does the author intend for us to think of Nick or Amy as the stronger writer? Do you perceive one or the other as a stronger writer, based on their narration/journal entries? Why?
 
3. Do you think Amy and Nick both believe in their marriage at the outset?
 
4. Nick, ever conscious of the way he is being perceived, reflects on the images that people choose to portray in the world—constructed, sometimes plagiarized roles that we present as our personalities. Discuss the ways in which the characters—and their opinions of each other—are influenced by our culture’s avid consumption of TV shows, movies, and websites, and our need to fit each other into these roles.
 
5. Discuss Amy’s false diary, both as a narrative strategy by the author and as a device used by the character. How does the author use it to best effect? How does Amy use it?
 
6. What do you make of Nick’s seeming paranoia on the day of his fifth anniversary, when he wakes with a start and reports feeling, You have been seen?
 
7. As experienced consumers of true crime and tragedy, modern “audiences” tend to expect each crime to fit a specific mold: a story, a villain, a heroine. How does this phenomenon influence the way we judge news stories? Does it have an impact on the criminal justice system? Consider the example of the North Carthage police, and also Tanner Bolt’s ongoing advice to Nick.
 
8. What is Go’s role in the book? Why do you think the author wrote her as Nick’s twin? Is she a likable character?
 
9. Discuss Amy’s description of the enduring myth of the “cool girl”—and her conviction that a male counterpart (seemingly flawless to women) does not exist. Do you agree? Why does she assume the role if she seems to despise it? What benefit do you think she derives from the act?
 
10. Is there some truth to Amy’s description of the “dancing monkeys”—her friends’ hapless partners who are forced to make sacrifices and perform “sweet” gestures to prove their love? How is this a counterpoint to the “cool girl”?
 
11. What do you think of Marybeth and Rand Elliott? Is the image they present sincere? What do you think they believe about Amy?
 
12. How does the book deal with the divide between perception and reality, or between public image and private lives? Which characters are most skillful at navigating this divide, and how?
 
13. How does the book capture the feel of the recession—the ending of jobs and contraction of whole industries; economic and geographical shifts; real estate losses and abandoned communities. Are some of Nick and Amy’s struggles emblematic of the time period? Are there any parts of the story that feel unique to this time period?
 
14. While in hiding, Amy begins to explore what the “real” Amy likes and dislikes. Do you think this is a true exploration of her feelings, or is she acting out yet another role? In these passages, what does she mean when she refers to herself as “I” in quotes?
 
15. What do you think of Amy’s quizzes—and “correct” answers—that appear throughout the book? As a consistent thread between her Amazing Amy childhood and her adult career, what does her quiz-writing style reveal about Amy’s true personality and her understanding of the world?
 
16. Do Nick and Amy have friends? Consider Nick’s assurance that Noelle was deluded in her claims of friendship with Amy, and also the friends described in Amy’s journal. How “real” are these friendships? What do you think friendship means to each of them?
 
17. What was the relationship between Amy and Nick’s father? Do you think the reader is meant to imagine conversations between the two of them? Why does Nick’s father come to Nick and Amy’s home?
 
18. Amy publicly denounces the local police and criticizes their investigation. Do you think they did a good job of investigating her disappearance? Were there real missteps, or was their failing due to Amy’s machinations?
 
19. Do you believe Amy truly would have committed suicide? Why does she return?
 
20. Were you satisfied with the book’s ending? What do you think the future holds for Nick, Amy, and their baby boy?
 

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Customer Reviews

Average Rating 4
( 4190 )
Rating Distribution

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(1692)

4 Star

(1127)

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(608)

2 Star

(351)

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(412)

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See All Sort by: Showing 1 – 20 of 4193 Customer Reviews
  • Anonymous

    Posted June 6, 2012

    Gillian Flynn is Brilliant.

    For those Anonymous users that gave this one star without any text explaining that low rating...you suck. And you make the rest of us that want to remain anonymous look bad.

    This is a smart, clever thriller that dissects the marriage of Amy and Nick Dunne. It's a dark, twisted story that will leave you shocked. (At least, I was shocked...and I can't stop talking about how much I loved it.)

    I should mention, I didn't like Flynn's first novel, I only picked this one up because I only heard good things from people I trust.

    378 out of 437 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted June 8, 2012

    ENGROSSING

    I refuse to summarize this story. I believe this is a fantastic book that should be relished without any prior knowledge of its plot. Wonderful prose. Insightful observations. Great character development. There are so many comments I would like to make, but I would ruin the suspense for others. I was/am so emotionally charged at the ending that I want to become a character in the story. Without spoiling the plot for those who chose to enjoy this incredible book, I suspect that many readers will have a similar reaction and would like to join me as residents of Carthage, Missouri.

    265 out of 293 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted June 8, 2012

    I read...a lot. Like, I need to read. After reading "Gone

    I read...a lot. Like, I need to read. After reading "Gone Girl," I know why. Very seldom will you come across a book that finishes so well. The story keeps you reading...so many stories can do that. This one, however, does what so few can accomplish by ending well. Satisying, is the best word I can think of. I realized I keep looking for a book that will satisfy all my cravings in a good story: suspense, humor, anger, sadness, relief. A fine book doesn't have to leave you guessing throughout the plot to keep you wanting more. Flynn keeps it straight to the point with enough twists to make it twisted without becoming too complicated to follow.
    This book will grab you like a hyped-up media headline and won't let you go! We all get caught up in the mainstream, bombshell news casts, and this book takes you right there in the middle of it. Love the technique and can't wait to see what Gillian Flynn comes up with next!

    198 out of 225 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted June 23, 2012

    more from this reviewer

    Don't be misled by criticism of the ending

    It is interesting to me--but not surprising--that a tiny segment of this book's readers give it low marks. I detect two consistent themes in those reviews. Before I get to that, let me put in writing my FIRST reactions to this novel: creative and complex story, daring approach, flawless context, remarkably courageous personal insight, glib-witty-brutal-unflinching narrative. I thoroughly enjoyed this book, even when it made me itchy and twitchy and feel uncomfortably exposed. And THAT brings me to the second theme in those negative reviews. (I'll get to the first one in a moment). Be assured, if you decide to read this book you're going to find little pieces of yourself and of people you know or care about woven through the cast of characters. And it won't be the best pieces, either. It will be the quirks and traits and harsh sentiments that all of us hope to keep hidden, not only from others but from ourselves, as well. Not everyone can look at that kind of naked emotion and see it as powerful, revelatory writing. Some of us are going to find it uncomfortable enough to dislike the book and to find flimsy complaints on which to blame that dislike: characters, language, writing style. And some of us are going find it uncomfortable enough to dislike the book but recognize nonetheless that it is a riveting story told with skill, imagination, and intelligence, and therefore we have to go for criticism number one... the ending. Those are the criticisms that make the least sense to me. I can't imagine, after nearly 500 pages of wandering around in the skulls of these characters, what sort of happy or tragic or poetically just ending the critics might have anticipated. The end of the book (but certainly not the end of the story) is as natural and logical as all that leads us to it. Granted, that's not very natural or logical for most of us, but it's what THESE characters would do; it's what they DESERVE. And in that there is a sort of literary integrity. It's not a Hurray! or a Yahoo! or a Gotcha! It's not TV. It's a continuation of the lives these pathetically twisted people have knowingly, willingly, compulsively built for themselves.

    170 out of 194 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted June 9, 2012

    Fabulous book!

    This book grabbed me from page 1 and didn't let go until the end! It was one of those novels that made me hurry and put the kids to bed so i could find out what happened next. Didn't want it to end! So glad i discovered this author and look forward to reading her other two books.

    105 out of 125 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted June 29, 2012

    A mixed review

    I really enjoyed this book, and like everybody else, couldn't wait to finish to see what happened. The twists and turns just kept on coming. Is it "Brilliant"? - not so much. Is it "awful"? No. it's not that either. It's a fun read, and I would recommend it, but the comments about the ending are valid. Yes, it's what they both deserved, and it's predictable in retrospect; i just wanted something a little more satisfying and wrapped up neatly. I wanted the character who deserved to be exposed to be exposed - and I wanted the character who deserved to get revenge to get it

    89 out of 109 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted June 10, 2012

    more from this reviewer

    It was difficult to like any of the characters. By the end I was

    It was difficult to like any of the characters. By the end I was wanting my time and money back. Awful.

    79 out of 239 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted July 26, 2012

    Waste of ur time

    Sarts slow, picks up and gets better and then TOTALLY ANTI-CLIMATIC. I regret wasting my time and would not recommend it. Spare yourself.

    68 out of 142 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted June 27, 2012

    I feel unclean

    I think that the story is well written however, none of the main characters (and very few of the supporting characters) are likable - at all. I kept waiting for someone, anyone, to show even the tiniest bit of humanity or redemption. The world is not populated entirely by egotistical sociopaths. This was a horribly, unsatisfying read.

    67 out of 118 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted August 23, 2012

    !

    Why do some reviewers feel the need to either reveal the entire plot line, or write complete dissertations on each and every plot point? They go on and on and on. That is not helpful. I personally hate it when a review reveals everything about the book. I read to be surprised but some posters feel they have to tell everything. That is not a helpful review. Let the readers discover for themselves the secrets of the book. Dont ruin it for us by telling everything.

    65 out of 155 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Posted July 5, 2012

    I Also Recommend:

    Great Book with great story line. Kept me entertained

    Great Book with great story line. Kept me entertained

    62 out of 81 people found this review helpful.

    Was this review helpful? Yes  No   Report this review
  • Anonymous

    Posted July 4, 2012

    Beginning was mediocre but a great twist in the middle. Ending w

    Beginning was mediocre but a great twist in the middle. Ending was horrible. Almost like the author gave up. Wouldn't suggest spending your $$.

    53 out of 75 people found this review helpful.

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  • Anonymous

    Posted June 25, 2012

    ok

    After reading the reviews, I purchased this book with high hopes. Four hundred and some pages later when I finished the last page, I sat there and thought, really, that's how it ends?? I was disappointed. Definitely not a happy ending.

    50 out of 69 people found this review helpful.

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  • Posted June 11, 2012

    more from this reviewer

    We've all read the stories in newspapers - a woman goes missing

    We've all read the stories in newspapers - a woman goes missing and the husband is the prime suspect. And he loudly proclaims his innocence....even as the evidence mounts....

    Gillian Flynn put her own spin on this idea in her latest book - Gone Girl.

    It is the day of Nick and Amy's fifth anniversary. It is also the day Amy disappears. Left behind - the first cryptic clue in a treasure hunt Amy always sets up for Nick.

    The first part of Gone Girl is told in alternating chapters from Nick's present time viewpoint, with flashbacks to memories. Amy's voice is heard from the pages of a diary, starting from seven years ago and building up to the day she disappears. The narratives each tell a completely different story. Who is telling the truth? The second part - well, I'm not going to spoil the plot for you, so I'll stop there.

    I am a huge fan of psychological thrillers and with Gone Girl, Gillian Flynn has crafted one of the best I've ever read. Really. The plot line is completely unpredictable. It's rare for me to be completely surprised at the direction a book takes, but I was this time. Flynn toys with us in a completely delicious and devious manner. You'll want to read carefully - there are lies, secrets and omissions scattered throughout the book and each revelation ratchets up the stakes just a little higher.

    While Gone Girl is a razor edged thriller, Flynn also explores marriage, attraction, family relationships and the media with that same sharp edged eye. Flynn's prose are are arresting, painting vivid images that crackle with intensity.

    "....the girl a man like Nick wants: the Cool Girl. Men always say that as the defining compliment, don't they? She's a cool girl. Being the cool girl means I am a hot, brilliant, funny woman who adores football, poker, dirty jokes, and burping, who plays video games, drinks cheap beer, loves threesomes and anal sex, and jams hot dogs and hamburgers into her mouth like she's hosting the world's biggest culinary gang bang while somehow maintaining a size 2, because Cool Girls are above all hot. Hot and understanding. Cool Girls never get angry; they only smile in a chagrined, loving manner and let their men do whatever they want."

    This is the first book I've read by Flynn, although I have since picked up her second book Dark Places. I loved the dedication to her husband...."What can I say about a man who knows how I think and still sleeps next to me with the lights off?"

    The buzz you've been hearing about Gone Girl? All true and more. This is THE book to read this summer. I guarantee you won't be disappointed. Just bleary eyed - 'cause you won't be able to put it down!

    42 out of 66 people found this review helpful.

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  • Posted June 16, 2012

    Don't waste your money

    just awful! Made no sense, characters under developed, the many good reviews make me wonder if I missed something.

    41 out of 95 people found this review helpful.

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  • Anonymous

    Posted June 10, 2012

    If you like the wave of new books that don't have an ending, the

    If you like the wave of new books that don't have an ending, then read this. Otherwise, don't waste your money.

    37 out of 63 people found this review helpful.

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  • Anonymous

    Posted June 7, 2012

    I guess that for me, this was more of a "good" book th

    I guess that for me, this was more of a "good" book than a book that I liked. The characters were certainly engaging, there was a good amount of suspense, and the author nicely balanced the narrative voices of very different characters. I can certainly appreciate the fact that it was well-written (if a bit slow at points). I think there were a few issues for me that would make me remove one star: I am not personally interested in "missing women" news sensationalism, I have a hard time enjoying unpleasant characters, and by the last third of the book, I felt things were getting a bit ludicrous (and then I found the ending rather unsatisfying). Having said that, I am still thinking about this book a couple of days later, so that says something good.

    34 out of 40 people found this review helpful.

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  • Posted June 10, 2012

    more from this reviewer

    Mind Blowing!! UP. ALL. NIGHT!!!

    This might be the FIRST book I have ever read that truly kept me enthralled until the final word. There were so many twists and turns in the plot of "Gone Girl" that I could hardly find a good stopping point to take a shower... and this is not a short book! I just couldn't put it down! I don't want to put a single spoiler, but I will share the general plot. Nick and Amy are a young married couple, living the Manhattan life when they are caught up in the recession. Facing the loss of their jobs and the news of Nick's mother's devastating illness, they decide to move to the midwest to help her in her final days. The foundation of their marriage begins to show cracks that have been there for some time, and what follows is an incredible mystery that is horrifying and unbelievable, and will keep you up all night.

    30 out of 38 people found this review helpful.

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  • Anonymous

    Posted June 8, 2012

    This book will blow your mind

    This book is so good and its movie worthy

    27 out of 35 people found this review helpful.

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  • Posted July 30, 2012

    Oh SO very disappointing!!!

    At first, you are intrigued - it keeps you reading. After a little while, you get bored - you realize that there is not one redeeming character in this story and you keep reading just to find out what happens at the end... then you finish - realizing that you have wasted both your time and money on this book. I was so disappointed - quite possibly the worst ending ever! Poor character development, bad - no, TERRIBLE - ending, just a very disappointing book.

    22 out of 31 people found this review helpful.

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