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On their fifth wedding anniversary, Nick’s wife Amy disappears. You can find signs of struggle inside the house, and Nick quickly becomes the prime suspect. It doesn’t help that Nick hasn’t been completely honest with all the police, and, as Amy’s case drags out for weeks, more plus much more vilifying evidence appears against him--but Nick maintains his innocence. Alternating points of view between Nick and Amy, Gillian Flynn creates an untrustworthy world that changes from chapter to chapter. Calling Gone Girl a psychological thriller is definitely an understatement. As revelation after revelation unfolds, it becomes clear the truth does not exist inside the middle of Nick and Amy’s points of view; it can be far darker, more twisted, and creepier than it can be done to imagine. Gone Girl is masterfully plotted, and the suspense doesn’t waver for any single page. It’s certainly one of those books you'll glance at the must discuss just as you finish it, since the ending doesn’t just come--it punches you within the gut. --Caley Anderson
“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, these are already departed. Of course, if you've got any doubts about whether Ms. Flynn measures approximately Patricia Highsmith’s amount of discreet malice, return and search in the small details. Whatever you raced past over a first reading will appear different the other time around.” —Janet Maslin, Ny Times
“An ingenious and viperish thriller… It’s going to produce Gillian Flynn a star… The initial 1 / 2 of Gone Girl can be a nimble, caustic riff on our Nancy Grace culture and how ''The butler did it'' has morphed into ''The husband did it.'' The better half could be the real stunner, though. Now I seriously am going to shut up before I spoil what instantly shifts in to a great, breathless read. Whilst Gone Girl grows truly twisted and wild, it says smart things about how exactly tenuous power relations are between men and women, and how often couples are in the mercy of forces beyond their control. As in the big event it weren’t enough, Flynn has created a genuinely creepy villain you don't see coming. People like to talk concerning the banality of evil. You’re going to meet a maniac you might fall in love with. A” —Jeff Giles, Entertainment Weekly
“An irresistible summer thriller which has a twisting plot worth Alfred Hitchcock. Burrowing deep to the murkiest corners in the human psyche, this delectable summer read will present you with the creeps whilst you on edge before last page.” —People (four stars)
“[A] thoroughbred thriller regarding the nature of identity as well as the terrible secrets that may survive and thrive in even probably the most intimate relationships. Gone Girl begins as being a whodunit, but with the end it goes to maybe you have wondering whether there’s any such thing like a who at all.” —Lev Grossman, Time
“How did things get so bad? That’s the reason to look at this book. Gillian Flynn — whose award-winning Dark Places and Sharp Objects also shone a dark light on weird and creepy, never to mention uber dysfunctional characters — delves on this occasion into what happens when two people marry and one spouse has no clue 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 all this over again. Admirers of Gillian Flynn’s previous books, Sharp Objects and Dark Places, will probably be ecstatic over Gone Girl, her most intricately twisted and deliciously sinister story, dangerous for just about any reader who prefers to savor a novel as against consuming it whole a single 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 person knows what continues 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 a difficult highway where this couple dissects their marriage with sharp acumen… Flynn shows 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 better of lists. Gone Girl reaffirms her talent.” —South Florida Sun-Sentinel, Oline Cogdill
“A great crime novel, however, is surely an unstable thing, entertainment and literature suspended in a few undetermined solution. Take Gillian Flynn’s Gone Girl, the third novel by considered one of a trio of contemporary women writers (the other people are Kate Atkinson and Tana French) that are kicking the genre into a higher gear… You couldn’t say that this is often a crime novel that’s ultimately in regards to a marriage, which could make it a literary novel in disguise. The crime as well as 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 your top in you, along with such cases, you need to keep him close.” —Salon
“Ms. Flynn writes dark suspense novels that anatomize violence without splashing barrels of blood throughout the pages… But as in their other books, Ms. Flynn has a lot more up her sleeve than a simple missing-person case. As Nick and Amy's alternately tell their stories, marriage never looked so menacing, narrators so unreliable.” —Wall Street Journal
“A portrait of a marriage so hilariously terrifying, it's going to make you have an excellent hard consider who the person on another side of the bed really is. This novel is so bogglingly twisty, we are able to only present you with the initial premise: on his or her fifth anniversary, Nick Dunne’s beloved wife Amy disappears, and many types of signs indicate very foul play indeed. Nick has to 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 which has a tale of marital strife so deliciously devious which it moves the finish line on The War in the Roses… A novel studded with disclosures and guided by purposeful misdirection… Flynn delivers a wickedly clever cultural commentary at the identical time as being a complex and driven mystery… What fun this novel is.” —New York Daily News
“Flynn’s brilliantly constructed and consistently absorbing third novel begins about the Dunnes’ fifth wedding anniversary… The novel, which twists itself into new shapes, works as being a page-turning thriller, but it’s another study of marriage at its most destructive.” —Columbus Dispatch
“Gillian Flynn's barbed and brilliant Gone Girl has two deceitful, disturbing, irresistible narrators along with a plot that twists so many times you'll be dizzy. This "catastrophically romantic" story about Nick and Amy can be a "fairy tale reverse transformation" that reminded me of Patricia Highsmith in their psychological suspense and Kate Atkinson in the 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 won't be capable of discover the conclusion at all. I could not sleep the evening after I just read it. It's really good," Ms. [Nancy] Pearl said. "It's about just how 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 an image to the way 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 the protagonists—despite your very best intuition.” —San Francisco Chronicle
“Flynn’s third noir thriller recently launched to more acclaim than the first couple of novels, polishing her history of pushing crime fiction to your new literary level so when a craftsman of deliciously twisting and twisted plots.” —Kansas City Star
“I grabbed Gone Girl for the reason that novel is set along the Mississippi River in Missouri and the plot sounded intriguing. I place 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 which has a problem that has to become resolved and a few surprises over the way. A great story offers a reader a challenge and leads you along a path, then dumps you off a cliff and right into a jungle of plot twists, character revelations and back stories which you cannot 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. Like to provide away the turn-of-the-screw within this chilling portrait of a marriage gone wrong can be a crime. I could claim that Gone Girl is an ingenious whodunit for both the Facebook generation and old-school mystery buffs. Whoever you are, it'll linger, like fingerprints on the gun… Flynn's characters bloom and grow, like beautiful, poisonous plants. She is often a Gothic storyteller for that Internet age.” —Cleveland Plain Dealer
“The setup of Gone Girl lulls readers in what appears to get a done-too-often plot, but, oh, how misleading that is. This thriller is told in alternating voices, a risky kind of narrative that actually works masterfully here since the characters are really distinct and convincing…. The very first half of the story leads readers on the merry chase and provides term "red herring" new meaning. The other half takes readers on a calculated descent into madness. The ending…is one of...
