Tag Archives: Gone Girl

Genre Bending in GONE GIRL

Posted by August 14th, 2013

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.

Marriage can be a real killer.

My recent interview with Barbara Rogan about her superb literary mystery A Dangerous Fiction got me thinking about one of my favorite genre-blending novels ever, Gone Girl.

Gillian Flynn’s Gone Girl is the story of a woman’s mysterious disappearance. It’s also the gut-wrenching exploration of her and her husband’s marriage. I relished every word, although it did make me glance at my partner suspiciously for about a week…

Like me, most people loved the book but many were frustrated with the ending. I thought the ending was perfect, but this ambivalence got me thinking: most readers either love or hate how the book ends. Why the extremity?

Then it dawned on me: genre conventions! Readers who consider Gone Girl a thriller are bound to be disappointed, as it violates one of the genre’s most fundamental precepts—a straightforward ending in which the good guy or gal wins. In Gone Girl, there is no Robert Langdon to save the Vatican.

(Spoilers ahead.)

The truth is that Gone Girl is kind of hard to categorize. The compound adjectives we save for thriller novels apply: the book is fast-paced, hair-raising, heart-pounding. The two main characters give us diverging interpretations of the unfolding story, to the point where we’re confounded and can’t trust either. They cast blame on each other, constantly withholding snippets of the truth from us. Reading the book becomes an exercise in finding who they really are. It gets harder and harder to sympathize with either of them.

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