Wow. That was intense.
I’m still shaking my head over Gone Girl. Yes, it is incredibly gripping. It has that…. that thing, where you just cannot let it go. Maybe it won’t let you go, because Gillian Flynn has written this inside-out murder mystery from the dual points of view of the protagonists. Who are also antagonists. And both of whom are egotists.
Yes, I think that’s it. There’s an urgency to this story-telling — the chapters alternate in the voices of Nick Dunne and his wife Amy and they’re both desperate, desperate to convince you that they’re right. That what they did was justifiable. That they are, really, fundamentally lovable, despite it all.
But wow, talk about unreliable narrators! There’s Nick, the drop-dead handsome working-class Irish boy from Missouri who married the high-flyer, Amy Elliott. Amy who is brilliant, beautiful, sexy, wealthy, and…. gone. Gone from their depressing house in a failed housing development in a dying town on the Mississippi river. Vanished completely, leaving signs of a struggle, the door to the house wide open, a dress on the ironing board and the iron still on. Uh-oh. They always look at the husband first, right? Nick’s in trouble.
And you know, that’s about all I can tell you, except that this sidewinder of a plot kept totally jerking me around. And that as the book went on, both Nick and Amy crept away from being naturalistic Girl and Guy next door to more startling, less subtle, almost mythic characters, leaving behind a trail of secondary folk (Amy’s parents, Nick’s twin sister Margo, the cops) as the end of the book becomes almost a two-hander. Gillian Flynn controls the material the whole time and the result is totally compelling entertainment.