Gillian Flynn’s Gone Girl is a dynamite psychodrama that works as a thriller (the bombshells are fantastic), a comedy, and as a whacked-out commentary on marriage. Stephen King says Flynn echoes Franzen in her writing, and she also has a fair amount of King (in the best sense.) The most fascinating aspect of the book is how it demonstrates the power of perspective: using unreliable narrators and other devices to move the plot continuously shifts the reader’s allegiance. As in life, nothing is black and white; truth is relative. Flynn’s portrait of one married couple is both fatalistic and hopeful, and recognizably true. For the record, I loved the ending – it feels inevitable, even as Flynn keeps you guessing until the last page (and beyond).