消失的愛人
地道英文
作者：by Gillian Flynn
吉莉安·弗琳（Gillian Flynn），出生於美國密蘇裏州堪薩斯市，作家及資深媒體人。父母皆為大學教授，從小便在無數的書籍和電影的浸潤下成長。大學畢業後進入加州的一家雜誌媒體，之後定居芝加哥，並在西北大學取得了新聞學碩士學位，進入《娛樂周刊》工作，常在世界各地的拍片現場進行采訪。迄今為止，吉莉安·弗琳已出版三部小說，部部都攬獲了文壇與媒體的無數好評。更是憑借本期推薦——《Gone Girl》一書，弗琳躋身美國暢銷書作家之列。處女作《Sharp Objects》入圍“愛倫·坡獎”決選，並創下了史上首度同時獲得兩座英國匕首獎的罕見記錄。《Dark Places》和《Gone Girl》則雙雙榮登《紐約時報》暢銷書排行榜。二十世紀福克斯電影公司還天價搶下了《Gone Girl》的電影版權，《七宗罪》及《返老還童》的導演大衛·芬奇隻看了兩頁書稿便表示要執導同名電影。
整部小說以兩人購房的矛盾開篇，預示了接下來的情節將會是一波三折。男主人公尼克一切都要遂自己心願的性格造就了這場悲劇，婚姻也猶如那道千裏之堤一般，但它卻更加經不起蟻穴的浸毀。女主人公艾米在與尼克結婚五周年紀念日的當天，離奇失蹤！尼克通過媒體深情告白，瘋狂尋找消失的愛人。然而，艾米的一本日記，字字直指尼克是真凶。霎時間，人人自危，開始重新審視枕邊人……到底誰才是凶手，到底是為了什麼？婚姻的經營到底能不能敷衍，懶散消極的愛人到底又該不該得到教訓？吉莉安·弗琳將用她那如刀鋒般犀利的筆鋒，為你講述一個又一個令人心驚膽戰的情節，她將給你一種經曆，那種經曆叫作——目不轉睛。
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 1）kernel or a riverbed fossil. She had what the 2）Victorians would call a 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 shutting through those coils like fast， frantic 3）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 question 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？
尼克·鄧恩事發當日
每當想起我太太，我總會想起她的頭。先是輪廓：第一眼見到她時，我望見的就是她的後腦，其自有某種曼妙之處，好似一粒閃亮堅硬的玉米粒兒，要不然便是河床上的一塊化石。在維多利亞時代，人們定會誇她“頭型雅致”，你簡直一下子就能想出顱骨的形狀。不管在哪兒，我都不會錯認她那顆小腦袋。
我也會想起那顆腦袋裏的思緒。她的腦中有著無數溝回，一個個念頭穿梭其間，好似狂亂的蜈蚣。我像個孩子一般想象著一幕場景：我要打開她的頭顱，理清溝回，捉住思緒，讓其無處可逃。“你在想些什麼呢，艾米？”自結婚以來，這是我問得最多的問題，即使我沒有大聲問出口，也沒有問那個掌握著答案的人；但據我猜想，這些問題恰似陰雲一般籠罩著每一段婚姻——“你在想些什麼呢？你感覺怎麼樣？你是誰？我們都對彼此做了些什麼？我們該怎麼辦？”
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 4）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 here for two years. It’s a rented house right along the Mississippi River， a house that screams Suburban 5）Nouveau Riche， the kind of place I aspired to as a kid from my 6）splitlevel， 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.
清晨六點整，我睜開了眼睛，可不是睡眼惺忪悠然醒來，這次我是直挺挺地醒過來的。眼簾“哢嗒”一下睜開，好似詭異的木偶娃娃，眼前先是一片漆黑，緊接著——好戲登場！我麵前的鬧鍾顯示六點整——我一眼瞧見：六點整。這種感覺有點怪，因為我很少在整點睡醒，我這人起床的時間很不規律，要麼是八點四十三分，要麼是十一點五十一分，要麼是九點二十六分。我的生活可不受鬧鍾的擺布。恰在六點整，夏日朝陽從橡樹叢背後噴薄而出，露出淩人的氣勢。陽光在河麵上投下了一片倒影，光亮照耀著我們的屋子，活像一根亮閃閃的長手指，刺破臥室裏薄薄的窗簾指向我，仿佛在控訴：“你已經暴露在光天化日之下，你終究會暴露在光天化日之下。”