Sharp Objects (Flynn)

Sharp Objects 
Gillian Flynn, 2006
Broadway Books
254 pp.
ISBN-13: 9780307341556


Summary
Fresh from a brief stay at a psych hospital, reporter Camille Preaker faces a troubling assignment: she must return to her tiny hometown to cover the murders of two preteen girls.

For years, 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 in her old bedroom in her family's Victorian mansion, Camille finds herself identifying with the young victims—a bit too strongly.

Dogged by her own demons, she must unravel the psychological puzzle of her own past if she wants to get the story—and survive this homecoming. (From the publiher.)

Author Bio
• Birth—February 24, 1971
• Where—Kansas City, Missouri, USA
• Education—B.A., University of Kansas; M.A., Northwest University
• Awards—Ian Fleming Steel Daggers
• Currently—lives in Chicago, Illinois


Gillian Flynn is an American author, screenwriter, comic book writer, and former television critic for Entertainment Weekly. Her three published novels are the thrillers: Sharp Objects, Dark Places, and Gone Girl.

Early life
Flynn was born in Kansas City, Missouri. Both of her parents were professors at Metropolitan Community College–Penn Valley: her mother, Judith Ann (nee Schieber), a reading-comprehension professor; her father, Edwin Matthew Flynn, a film professor. "Painfully shy," Flynn found escape in reading and writing and watching horror movies.

Flynn attended the University of Kansas, where she received her undergraduate degrees in English and journalism. She spent two years in California writing for a trade magazine for human resources professionals before moving to Chicago where, in 1997, she earned a Master's in journalism at Northwestern University.

Career
Initially, Flynn wanted to work as a police reporter but soon discovered she had no aptitude for police reporting. She worked briefly at U.S. News & World Report before being hired as a feature writer in 1998 for Entertainment Weekly. She was promoted to television critic, writing about both tv and film.

Flynn attributes her craft to her 15-some years in journalism:

I could not have written a novel if I hadn't been a journalist first, because it taught me that there's no muse that's going to come down and bestow upon you the mood to write. You just have to do it. I'm definitely not precious.

Although Flynn considers herself a feminist, some critics accuse her of misogyny because of the unflattering depiction of female characters in her books. Yet feminism, she feels, allows for women to be bad characters in literature:

The one thing that really frustrates me is this idea that women are innately good, innately nurturing.

Flynn also said people will dismiss...

trampy, vampy, bitchy types—there's still a big pushback against the idea that women can be just pragmatically evil, bad, and selfish.

Books
Flynn began writing novels during her free time while working for Entertainment Weekly. Her three books are—

♦ Sharp Objects (2006) revolves around a serial killer in Missouri and the reporter who returns to her Missouri hometown from Chicago to cover the event. Partly inspired by Dennis Lehane's 2001 Mystic River, the book deals with dysfunctional families, violence, and self-harm. It was shortlisted for the Mystery Writers of America Edgar in 2007 for Best First Novel by an American Writer. It won the Crime Writers' Association "New Blood" and "Ian Fleming Steel Daggers" awards.

♦ Dark Places (2009) centers on a woman investigating her brother who was convicted in the 1980s, when she was only a child, of murdering their parents.The book explores the era's satanic rituals and was adapted into a 2015 film. Flynn makes a cameo appearance in the film.

♦ Gone Girl (2012) concerns a couple, the wife of which disappears on their fifth wedding anniversary, and her husband who comes under police scrutiny as the prime suspect.
The novel hit No. 1 on the New York Times Hardcover Fiction Bestseller list for eight weeks. Times culture writer Dave Itzkoff wrote that the novel was, except for the Fifty Shades of Grey series, the biggest literary phenomenon of 2012. By the end of that year, Gone Girl had sold over two million copies (print and digital).

After selling the film rights for $1.5 million, Flynn wrote the Gone Girl screenplay. The 2014 film, starring Ben Affleck and Rosamund Pike, was released to popular and critical acclaim.

Other writing
Flynn was an avid reader of comic and graphic novels when she was a child. She collaborated with illustrator Dave Gibbons and wrote a comic book story called "Masks," as part of the Dark Horse Presents series. It came out in 2015.

Flynn agreed to write the scripts for Utopia, an forthcoming HBO drama series adapted from the acclaimed British series Utopia. The HBO series is to be directed and executive produced by David Fincher, who also directed Gone Girl.

Personal life
She married lawyer Brett Nolan in 2007. They met through Flynn's grad school classmate at Northwestern but did not start dating until Flynn, then  in her mid-30s, moved back to Chicago from New York City. The couple still resides in Chicago with their two children. (Adapted from Wikipedia. Retrieved 10/13/2015.)

Book Reviews
[A[ mesmerizing psychological thriller. Camille Preaker, a novice reporter with a history of self-mutilation, is sent to her hometown in Missouri to cover the murder of one teenage girl and the disappearance of another.... [M]akes one's blood run cold.
Publishers Weekly


Fans of psychological thrillers will welcome narrator/Chicago Daily Post reporter Camille Preaker with open arms...As first-time novelist Flynn expertly divulges in this tale reminiscent of the works of Shirley Jackson, there is much more to discover about Wind Gap and, most of all, about Camille.
Library Journal



This impressive debut novel is fueled by stylish writing and compelling portraits.... In a particularly seductive narrative style, Flynn adopts the cynical, knowing patter of a weary reporter, but it is her portraits of the town's backstabbing, social-climbing, bored, and bitchy females that provoke her sharpest and most entertaining writing. A stylish turn on dark crimes and even darker psyches.
Booklist

Flynn delivers a great whodunit, replete with hinting details, telling dialogue, dissembling clues. Better yet, she offers appalling, heartbreaking insight into the darkness of her women's lives: the Stepford polish of desperate housewives, the backstabbing viciousness of drug-gobbling, sex-for-favors Mean Girls, the simmering rage bound to boil over. Piercingly effective and genuinely terrifying.
Kirkus Reviews

Discussion Questions
1. Soon after arriving in Wind Gap, Camille reflects, "Curry was wrong: Being an insider was more distracting than useful." What exactly was Curry wrong about? What advantages did he think Camille’s "insider" status would bring with it? Was he, ultimately, wrong?

2. After ten years of abstinence, what is it that motivates Camille’s promiscuity during her return to Wind Gap? What do you make of her choice of partners—both relative outsiders in the town?

3. Does Camille deliberately sabotage her relationship with Richard? Could they have made a good couple?

4. Driving through Wind Gap, Camille describes the character of each distinct section of town, including its architecture: often poorly executed renovations and new construction. What do you make of her critiques? How are their homes symbolic of the people of Wind Gap?

5. Does Amma feel real affection for Camille? What are her motivations for getting closer to Camille?

6. What similarities do you see between Camille and Amma? What similarities do you think Camille sees?

7. Why is Amma so obsessed with her dollhouse? What significance does it hold for her?

8. Camille is addicted to "cutting," a form of self-harm. Why do you think she specifically cuts words into her skin?

9. Camille is shocked when her suspicions about Marian’s illnesses are confirmed. Do you think she believes Adora deliberately killed Marian? Do you believe Marian’s death was intentional?

10. Is there goodness in Adora? Are there any moments when she seems to you more human, or more kind?

11. How would you describe Alan—a man who, as Camille says, never sweats—living among so much anxiety? Do you see this type of contrast—between cleanliness and filth, order and disorder—elsewhere in the book?

12. The story about cutting off her own hair before school-picture day is attributed both to Ann and to Camille. Why do you think the author makes this connection?

13. Discuss the role of substance abuse in the book. How does it define the characters, their behavior, and the town of Wind Gap? How does it contribute to the telling of the story, as the focus—and the substances themselves—intensify during the course of the book?

14. Discuss the theme of violence throughout the book, including animal slaughter, sexual assault, cutting, biting, and, of course, murder. What do you make of the way residents of Wind Gap respond to violence?

15. "A ring of perfect skin." One on Camille’s back, another on her mother’s wrist. What significance does this have? How alike are Camille and her mother? In what crucial ways are they different?

16. Why does Camille allow herself to be poisoned by Adora?

17. In describing her crimes, Amma recalls happy, "wild" times with Ann and Natalie. Why isn’t Amma able to keep these girls as friends? Do their violent undercurrents doom these friendships to fail, or could they have been overcome?

18. As a reporter, Camille often has to distinguish between original quotes and quotes that are influenced by "true crime" dramas. What is the author saying about our society and our exposure to crime stories? Are the police working the case also guilty of this pop-culture shorthand?

19. At the end of the book, Camille isn’t certain of her answer to one key question: "Was I good at caring for Amma because of kindness? Or did I like caring for Amma because I have Adora’s sickness?" What is your opinion?

20. How important do you think the outward appearance of the people in Sharp Objects is to their personalities? Ugliness and beauty are themes throughout the book, but are they the key themes? Or do the characters rise above the visual?
(Questions issued by the publisher.)

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