Ïîèñê ïî êàòàëîãó ïå÷àòíûõ èçäàíèé

ÍÅÇÀÊÎÍÍÎÅ ÏÎÒÐÅÁËÅÍÈÅ ÍÀÐÊÎÒÈ×ÅÑÊÈÕ ÑÐÅÄÑÒÂ; ÏÑÈÕÎÒÐÎÏÍÛÕ ÂÅÙÅÑÒÂ È ÈÕ ÀÍÀËÎÃΠÏÐÈ×ÈÍßÞÒ ÂÐÅÄ ÇÄÎÐÎÂÜÞ; ÈÕ ÍÅÇÀÊÎÍÍÛÉ ÎÁÎÐÎÒ ÇÀÏÐÅÙÅÍ È ÂËÅ×ÅÒ ÓÑÒÀÍÎÂËÅÍÍÓÞ ÇÀÊÎÍÎÄÀÒÅËÜÑÒÂÎÌ ÎÒÂÅÒÑÒÂÅÍÍÎÑÒÜ.

Àííîòàöèÿ: Ìóæ è æåíà — èäåàëüíûå ñîþçíèêè èëè íåïðèìèðèìûå âðàãè? Ìîæíî ëè âûèãðàòü â ðóëåòêó ïîä íàçâàíèåì «áðàê», åñëè êàæäûé èç èãðîêîâ ïðåòåíäóåò íà ìåñòî êðóïüå? Ñòàâêè ñäåëàíû. È íà êîíó æèçíü. Èñòîðèÿ íåâåðîÿòíîãî ïðîèñøåñòâèÿ, ïîòðÿñøåãî ïðîâèíöèàëüíûé àìåðèêàíñêèé ãîðîäîê, ðàññêàçàíà îò ïåðâîãî ëèöà äâàæäû, âåäü äëÿ ëþáûõ ñîáûòèé åñòü åãî è åå âåðñèÿ. ×òî æå ïðîèçîøëî íà ñàìîì äåëå? ×èòàòåëþ ïðåäñòîèò ïðîéòè çàïóòàííûé ïñèõîëîãè÷åñêèé êâåñò, â êîòîðîì ëþáîâíàÿ èíòðèãà ïåðåïëåòåíà ñ äåòåêòèâíûì ñþæåòîì òàê, ÷òî íåâîçìîæíî îòîðâàòüñÿ. Ðîìàí ïîëó÷èë íåñêîëüêî ïðåñòèæíûõ ïðåìèé è áûë ýêðàíèçèðîâàí, à ñöåíàðèñòîì âûñòóïèëà ñàìà àâòîð.

ÍÅÇÀÊÎÍÍÎÅ ÏÎÒÐÅÁËÅÍÈÅ ÍÀÐÊÎÒÈ×ÅÑÊÈÕ ÑÐÅÄÑÒÂ; ÏÑÈÕÎÒÐÎÏÍÛÕ ÂÅÙÅÑÒÂ È ÈÕ ÀÍÀËÎÃΠÏÐÈ×ÈÍßÞÒ ÂÐÅÄ ÇÄÎÐÎÂÜÞ; ÈÕ ÍÅÇÀÊÎÍÍÛÉ ÎÁÎÐÎÒ ÇÀÏÐÅÙÅÍ È ÂËÅ×ÅÒ ÓÑÒÀÍÎÂËÅÍÍÓÞ ÇÀÊÎÍÎÄÀÒÅËÜÑÒÂÎÌ ÎÒÂÅÒÑÒÂÅÍÍÎÑÒÜ.

Àííîòàöèÿ: Libby Day was seven when her mother and two sisters were murdered in —The Satan Sacrifice of Kinnakee, Kansas.— As her family lay dying, little Libby fled their tiny farmhouse into the freezing January snow. She lost some fingers and toes, but she survived—and famously testified that her fifteen-year-old brother, Ben, was the killer. Twenty-five years later, Ben sits in prison, and troubled Libby lives off the dregs of a trust created by well-wishers who—ve long forgotten her.The Kill Club is a macabre secret society obsessed with notorious crimes. When they locate Libby and pump her for details—proof they hope may free Ben—Libby hatches a plan to profit off her tragic history. For a fee, she—ll reconnect with the players from that night and report her findings to the club— and maybe she—ll admit her testimony wasn—t so solid after all.As Libby—s search takes her from shabby Missouri strip clubs to abandoned Oklahoma tourist towns, the narrative flashes back to January 2, 1985. The events of that day are relayed through the eyes of Libby—s doomed family members—including Ben, a loner whose rage over his shiftless father and their failing farm have driven him into a disturbing friendship with the new girl in town. Piece by piece, the unimaginable truth emerges, and Libby finds herself right back where she started—on the run from a killer.

ÍÅÇÀÊÎÍÍÎÅ ÏÎÒÐÅÁËÅÍÈÅ ÍÀÐÊÎÒÈ×ÅÑÊÈÕ ÑÐÅÄÑÒÂ; ÏÑÈÕÎÒÐÎÏÍÛÕ ÂÅÙÅÑÒÂ È ÈÕ ÀÍÀËÎÃΠÏÐÈ×ÈÍßÞÒ ÂÐÅÄ ÇÄÎÐÎÂÜÞ; ÈÕ ÍÅÇÀÊÎÍÍÛÉ ÎÁÎÐÎÒ ÇÀÏÐÅÙÅÍ È ÂËÅ×ÅÒ ÓÑÒÀÍÎÂËÅÍÍÓÞ ÇÀÊÎÍÎÄÀÒÅËÜÑÒÂÎÌ ÎÒÂÅÒÑÒÂÅÍÍÎÑÒÜ.

Àííîòàöèÿ: WICKED above her hipbone, GIRL across her heart Words are like a road map to reporter Camille Preaker—s troubled past. Fresh from a brief stay at a psych hospital, Camille—s first assignment from the second-rate daily paper where she works brings her reluctantly back to her hometown to cover the murders of two preteen girls. NASTY on her kneecap, BABYDOLL on her leg Since she left town eight years ago, Camille has hardly spoken to her neurotic, hypochondriac mother or to the half-sister she barely knows: a beautiful thirteen-year-old with an eerie grip on the town. Now, installed again in her family—s Victorian mansion, Camille is haunted by the childhood tragedy she has spent her wholelife trying to cut from her memory. HARMFUL on her wrist, WHORE on her ankle As Camille works to uncover the truth about these violent crimes, she finds herself identifying with the young victims - a bit too strongly. Clues keep leading to dead ends, forcing Camille to unravel the psychological puzzle of her own past to get at the story. Dogged by her own demons, Camille will have to confront what happened to her years before if she wants to survive this homecoming. With its taut, crafted writing, Sharp Objects is addictive, haunting, and unforgettable.

Àííîòàöèÿ: A young woman is making a living, faking it as a cut-price psychic working at Spiritual Palms (with some illegal soft-core sex work on the side). She makes a decent wage - mostly by telling people what they want to hear. But then she meets Susan Burke. Susan moved to the city one year ago with her husband and 15-year old stepson Miles. They live in a Victorian house called Carterhook Manor, built in 1893. Susan has become convinced that some malevolent spirit is inhabiting their home, and taking possession of the stepson. She has even found trickles of blood on the wall. The young woman doesn't believe in exorcism or the supernatural, but she does see an opportunity to make a lot of money. However when she enters the house for the first time, and meets Miles, she begins to feel it too, as if the very house is watching her, waiting, biding its time.... 'The Grownup' which originally appeared as 'What Do You Do?' in George R. R. Martin's Rogues anthology, proves once again that Gillian Flynn is one of the world's most original and skilled voices in fiction