52 pages • 1 hour read
Gillian FlynnA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Summary
Chapter Summaries & Analyses
Character Analysis
Themes
Symbols & Motifs
Important Quotes
Essay Topics
Tools
In a twist of the romantic plot genre, Flynn titles these novel parts in reverse order. The traditional romance plot is: boy meets girl; boy loses girl; boy gets girl back again. Flynn reverses the first two plot elements here. The first part titled “Boy Loses Girl,” and describes Amy’s disappearance and the search for her. Part Two is titled “Boy Meets Girl” and explores Amy’s real personality. This section concerns Nick’s realization of exactly what Amy has done to him; Nick meets the real Amy for the first time.
In this part, Amy’s narration begins on the day she disappeared and moves forward in time from that point. Her chapters alternate with Nick’s narration, which begins with him entering the shed on Go’s property and continues forward in time from that point.
Amy reveals that she is alive and that she planned her own disappearance. She tells the story of her birth; she is the Elliotts’ sole surviving child after five stillbirths and two miscarriages. She feels special because she was able to make it when all of her sisters didn’t. She describes feeling like a “product” (222) to her parents, however, who gave her all the advantages, except for teaching her how to be happy and connect with people. Amy finds other people baffling.
Next, Amy tells the story of how much Nick loved her, and how she became the “Cool Girl” (222), because that was what he wanted. When she finally revealed who she really was to Nick, he didn’t like her; he wanted the Cool Girl back. That is when the hatred began.
Nick realizes that the clues are taking him to all the places that he cheated on Amy with Andie in and he realizes that Amy knew about the affair. The shed is filled with all the expensive things that Nick swears he didn’t buy with the credit cards he said he didn’t know about. He shows his sister the stuff in the shed; finally, his growing feeling that Amy is framing him is confirmed.
The two of them face Amy’s final “treasure” together: Punch and Judy puppets, with a tiny wooden baby attached to the Judy puppet. Nick and Go soon figure out Amy’s symbolism: Punch kills their baby, and when Judy confronts him about it, he beats her to death. Though Punch gets away with his murders, Amy means for Nick to be punished for the murders he supposedly committed. Oddly, the Judy puppet is missing its handle. Nick finally understands that Amy has framed him for her disappearance and murder.
Amy reveals that she knew about the affair from its beginning. Framing Nick for her murder is her revenge for his affair and her attempt to teach Nick a lesson. She made up all of the evidence to frame Nick, including writing the diary. Diary Amy is a complete fiction.
Amy has been planning this day for a year; she drives away in the car she purchased to hide out in the Ozarks of Missouri. Along the way, she cuts her hair and dyes it a mousy brown color.
She doesn’t feel sorry about hurting her parents because “they made me this way and then deserted me” (238). She resents them for taking her money back, and for allowing her to move away from New York. She believes, “They deserve to suffer too” (238). She accuses Nick of killing her soul by rejecting the “real” (238) her.
Nick calls Tanner Bolt to tell him that Amy is framing him. Tanner tells him that they can discuss it when he gets there the next morning. Go takes a sleeping pill and goes to bed. Andie arrives at the back door at Go’s house once again.
The morning of their anniversary, Nick had been building up the courage to tell Amy that he wanted a divorce, when Amy preempted him by saying that she still loved him and wanted to start over.
Nick tells Andie that he cannot go on with their affair. Andie is furious. She storms out, after biting Nick on the cheek when he tries to stop her from leaving before he can calm her down.
Amy reports that Nick finally got to his father’s house and found the clue Amy left there. She got a call from the alarm company, having reset the alarm and used her own phone number as the emergency contact. She watches her story unfold on Ellen Abbott Live, enjoying the attention and the fuss.
Amy has $10,200 in cash stored in a money belt. She is hiding out at a low-budget motel that has individual cabins. A man named Jeff, who is also staying at the cabins, brings her fish and tries to make friends. Amy accepts the fish. The manager, Dorothy, offers her tomatoes from her garden. Amy is thrilled to watch Nick pilloried in the press.
Nick explains how Amy has set him up to Tanner Bolt and Go. When Nick is finished, Tanner asks what the clue led to at his father’s house, but Nick never found any “treasure” at his father’s, only the clues.
Amy is not only alive and well, but she planned her own disappearance. With this significant plot twist, Flynn subverts both the traditional romantic or domestic plot and the traditional thriller plot. In each genre, the hero remains the hero and the villain the villain. In the thriller genre, the reader follows the clues to the conclusion where the villain is caught by the wily hero and order is restored. In a romantic plot, the couple lives ‘happily ever after.’
In this novel, Flynn turns both genres and their notions of the hero/heroine on their heads, portraying Amy as the heroine in the first part and Nick as the villain, and switching their roles abruptly in Part Two. However, both of Flynn’s protagonists are problematic. Both have decidedly negative aspects to their personalities and weak moral compasses; both are villains.
The matter-of-fact way that Amy discusses her revenge, both on Nick and her parents, is chilling. What kind of person would go so such lengths to make others suffer so much?
The speed with which Nick abandons his relationship and his “love” for Andie demonstrates one of Nick’s most disturbing character traits; he seems to be able to turn his emotions on and off at will. When his marriage becomes too difficult, he bales for a younger, less challenging mistress. When his mistress becomes a liability, he drops her immediately. Not only does he drop her, as Tanner has ordered him to, but he completely falls out of love with her. What kind of person falls out of love that easily?
By Gillian Flynn