Audio CD(Unabridged)

$19.99 
  • SHIP THIS ITEM
    Temporarily Out of Stock Online
  • PICK UP IN STORE
    Check Availability at Nearby Stores

Related collections and offers


Overview

I have a meanness inside me, real as an organ.


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.

Product Details

ISBN-13: 9780804164221
Publisher: Penguin Random House Audio Publishing Group
Publication date: 07/02/2013
Edition description: Unabridged
Pages: 11
Product dimensions: 5.26(w) x 5.82(h) x 1.14(d)

About the Author

GILLIAN FLYNN is the author of the #1 New York Times bestseller Gone Girl; the New York Times bestseller Dark Places, which was a New Yorker Reviewers’ Favorite, Weekend Today Top Summer Read, Publishers Weekly Best Book of 2009, and Chicago Tribune Favorite Fiction choice; and the Dagger Award winner Sharp Objects, which was an Edgar® nominee for Best First Novel, a BookSense pick, and a Barnes & Noble Discover selection.

Read an Excerpt

Libby Day

Now

I have a meanness inside me, real as an organ. Slit me at my belly and it might slide out, meaty and dark, drop on the floor so you could stomp on it. It’s the Day blood. Something’s wrong with it. I was never a good little girl, and I got worse after the murders. Little Orphan Libby grew up sullen and boneless, shuffled around a group of lesser relatives—second cousins and great-aunts and friends of friends—stuck in a series of mobile homes or rotting ranch houses all across Kansas. Me going to school in my dead sisters’ hand-me-downs: Shirts with mustardy armpits. Pants with baggy bottoms, comically loose, held on with a raggedy belt cinched to the farthest hole. In class photos my hair was always crooked—barrettes hanging loosely from strands, as if they were airborne objects caught in the tangles—and I always had bulging pockets under my eyes, drunk-landlady eyes. Maybe a grudging curve of the lips where a smile should be. Maybe.

I was not a lovable child, and I’d grown into a deeply unlovable adult. Draw a picture of my soul, and it’d be a scribble with fangs.

It was miserable, wet-bone March and I was lying in bed thinking about killing myself, a hobby of mine. Indulgent afternoon daydreaming: A shotgun, my mouth, a bang and my head jerking once, twice, blood on the wall. Spatter, splatter. “Did she want to be buried or cremated?” people would ask. “Who should come to the funeral?” And no one would know. The people, whoever they were, would just look at each other’s shoes or shoulders until the silence settled in and then someone would put on a pot of coffee, briskly and with a fair amount of clatter. Coffee goes great with sudden death.

I pushed a foot out from under my sheets, but couldn’t bring myself to connect it to the floor. I am, I guess, depressed. I guess I’ve been depressed for about twenty-four years. I can feel a better version of me somewhere in there—hidden behind a liver or attached to a bit of spleen within my stunted, childish body—a Libby that’s telling me to get up, do something, grow up, move on. But the meanness usually wins out. My brother slaughtered my family when I was seven. My mom, two sisters, gone: bang bang, chop chop, choke choke. I didn’t really have to do anything after that, nothing was expected.

I inherited $321,374 when I turned eighteen, the result of all those well-wishers who’d read about my sad story, do-gooders whose hearts had gone out to me. Whenever I hear that phrase, and I hear it a lot, I picture juicy doodle-hearts, complete with bird-wings, flapping toward one of my many crap-ass childhood homes, my little-girl self at the window, waving and grabbing each bright heart, green cash sprinkling down on me, thanks, thanks a ton! When I was still a kid, the donations were placed in a conservatively managed bank account, which, back in the day, saw a jump about every three–four years, when some magazine or news station ran an update on me. Little Libby’s Brand New Day: The Lone Survivor of the Prairie Massacre Turns a Bittersweet 10. (Me in scruffy pigtails on the possum-pissed lawn outside my Aunt Diane’s trailer. Diane’s thick tree-calves, exposed by a rare skirt, planted on the trailer steps behind me.) Brave Baby Day’s Sweet 16! (Me, still miniature, my face aglow with birthday candles, my shirt too tight over breasts that had gone D-cup that year, comic-book sized on my tiny frame, ridiculous, porny.)

I’d lived off that cash for more than thirteen years, but it was almost gone. I had a meeting that afternoon to determine exactly how gone. Once a year the man who managed the money, an unblinking, pink-cheeked banker named Jim Jeffreys, insisted on taking me to lunch, a “checkup,” he called it. We’d eat something in the twenty-dollar range and talk about my life—he’d known me since I was this-high, after all, heheh. As for me, I knew almost nothing about Jim Jeffreys, and never asked, viewing the appointments always from the same kid’s-eye view: Be polite, but barely, and get it over with. Single-word answers, tired sighs. (The one thing I suspected about Jim Jeffreys was that he must be Christian, churchy—he had the patience and optimism of someone who thought Jesus was watching.) I wasn’t due for a “checkup” for another eight or nine months, but Jim Jeffreys had nagged, leaving phone messages in a serious, hushed voice, saying he’d done all he could to extend the “life of the fund,” but it was time to think about “next steps.”

And here again came the meanness: I immediately thought about that other little tabloid girl, Jamie Something, who’d lost her family the same year—1985. She’d had part of her face burned off in a fire her dad set that killed everyone else in her family. Any time I hit the ATM, I think of that Jamie girl, and how if she hadn’t stolen my thunder, I’d have twice as much money. That Jamie Whatever was out at some mall with my cash, buying fancy handbags and jewelry and buttery department-store makeup to smooth onto her shiny, scarred face. Which was a horrible thing to think, of course. I at least knew that.

Finally, finally, finally I pulled myself out of bed with a stage- effect groan and wandered to the front of my house. I rent a small brick bungalow within a loop of other small brick bungalows, all of which squat on a massive bluff overlooking the former stockyards of Kansas City. Kansas City, Missouri, not Kansas City, Kansas. There’s a difference.

My neighborhood doesn’t even have a name, it’s so forgotten. It’s called Over There That Way. A weird, subprime area, full of dead ends and dog crap. The other bungalows are packed with old people who’ve lived in them since they were built. The old people sit, gray and pudding-like, behind screen windows, peering out at all hours. Sometimes they walk to their cars on careful elderly tiptoes that make me feel guilty, like I should go help. But they wouldn’t like that. They are not friendly old people—they are tight-lipped, pissed-off old people who do not appreciate me being their neighbor, this new person. The whole area hums with their disapproval. So there’s the noise of their disdain and there’s the skinny red dog two doors down who barks all day and howls all night, the constant background noise you don’t realize is driving you crazy until it stops, just a few blessed moments, and then starts up again. The neighborhood’s only cheerful sound I usually sleep through: the morning coos of toddlers. A troop of them, round-faced and multilayered, walk to some daycare hidden even farther in the rat’s nest of streets behind me, each clutching a section of a long piece of rope trailed by a grown-up. They march, penguin-style, past my house every morning, but I have not once seen them return. For all I know, they troddle around the entire world and return in time to pass my window again in the morning. Whatever the story, I am attached to them. There are three girls and a boy, all with a fondness for bright red jackets—and when I don’t seen them, when I oversleep, I actually feel blue. Bluer. That’d be the word my mom would use, not something as dramatic as depressed. I’ve had the blues for twenty-four years.

I put on a skirt and blouse for the meeting, feeling dwarfy, my grown-up, big-girl clothes never quite fitting. I’m barely five foot—four foot, ten inches in truth, but I round up. Sue me. I’m thirty-one, but people tend to talk to me in singsong, like they want to give me fingerpaints.

I headed down my weedy front slope, the neighbor’s red dog launching into its busybody barking. On the pavement near my car are the smashed skeletons of two baby birds, their flattened beaks and wings making them look reptilian. They’ve been there for a year. I can’t resist looking at them each time I get in my car. We need a good flood, wash them away.

Two elderly women were talking on the front steps of a house across the street, and I could feel them refusing to see me. I don’t know anyone’s name. If one of those women died, I couldn’t even say, “Poor old Mrs. Zalinsky died.” I’d have to say, “That mean old bitch across the street bit it.”

Feeling like a child ghost, I climbed into my anonymous midsized car, which seems to be made mostly of plastic. I keep waiting for someone from the dealership to show up and tell me the obvious: “It’s a joke. You can’t actually drive this. We were kidding.” I trance-drove my toy car ten minutes downtown to meet Jim Jeffreys, rolling into the steakhouse parking lot twenty minutes late, knowing he’d smile all kindly and say nothing about my tardiness.

I was supposed to call him from my cell phone when I arrived so he could trot out and escort me in. The restaurant—a great, old-school KC steakhouse—is surrounded by hollowed-out buildings that concern him, as if a troop of rapists were permanently crouched in their empty husks awaiting my arrival. Jim Jeffreys is not going to be The Guy Who Let Something Bad Happen to Libby Day. Nothing bad can happen to BRAVE BABY DAY, LITTLE GIRL LOST, the pathetic, red-headed seven-year-old with big blue eyes, the only one who survived the PRAIRIE MASSACRE, the KANSAS CRAZE-KILLINGS, the FARMHOUSE SATAN SACRIFICE. My mom, two older sisters, all butchered by Ben. The only one left, I’d fingered him as the murderer. I was the cutie-pie who brought my Devil- worshiping brother to justice. I was big news. The Enquirer put my tearful photo on the front page with the headline ANGEL FACE.

I peered into the rearview mirror and could see my baby face even now. My freckles were faded, and my teeth straightened, but my nose was still pug and my eyes kitten-round. I dyed my hair now, a white-blonde, but the red roots had grown in. It looked like my scalp was bleeding, especially in the late-day sunlight. It looked gory. I lit a cigarette. I’d go for months without smoking, and then remember: I need a cigarette. I’m like that, nothing sticks.

“Let’s go, Baby Day,” I said aloud. It’s what I call myself when I’m feeling hateful.

I got out of the car and smoked my way toward the restaurant, holding the cigarette in my right hand so I didn’t have to look at the left hand, the mangled one. It was almost evening: Migrant clouds floated in packs across the sky like buffalo, and the sun was just low enough to spray everything pink. Toward the river, between the looping highway ramps, obsolete grain elevators sat vacant, dusk-black and pointless.

I walked across the parking lot all by myself, atop a constellation of crushed glass. I was not attacked. It was, after all, just past 5 p.m. Jim Jeffreys was an early-bird eater, proud of it.

He was sitting at the bar when I walked in, sipping a pop, and the first thing he did, as I knew he would, was grab his cell phone from his jacket pocket and stare at it as if it had betrayed him.

“Did you call?” he frowned.

“No, I forgot,” I lied.

He smiled then. “Well, anyway. Anyway, I’m glad you’re here, sweetheart. Ready to talk turkey?”

He slapped two bucks on the bartop, and maneuvered us over to a red leather booth sprouting yellow stuffing from its cracks. The broken slits scraped the backs of my legs as I slid in. A whoof of cigarette stink burped out of the cushions.

Jim Jeffreys never drank liquor in front of me, and never asked me if I wanted a drink, but when the waiter came I ordered a glass of red wine and watched him try not to look surprised, or disappointed, or anything but Jim Jeffreys–like. What kind of red? the waiter asked, and I had no idea, really—I never could remember the names of reds or whites, or which part of the name you were supposed to say out loud, so I just said, House. He ordered a steak, I ordered a double-stuffed baked potato, and then the waiter left and Jim Jeffreys let out a long dentist-y sigh and said, “Well, Libby, we are entering a very new and different stage here together.”

“So how much is left?” I asked, thinking saytenthousandsayten thousand.

“Do you read those reports I send you?”

“I sometimes do,” I lied again. I liked getting mail but not reading it; the reports were probably in a pile somewhere in my house.

“Have you listened to my messages?”

“I think your cell phone is messed up. It cuts out a lot.” I’d listened just long enough to know I was in trouble. I usually tuned out after Jim Jeffreys’ first sentence, which always began: Your friend Jim Jeffreys here, Libby . . .

Jim Jeffreys steepled his fingers and stuck his bottom lip out. “There is 982 dollars and 12 cents left in the fund. As I’ve mentioned before, had you been able to replenish it with any kind of regular work, we’d have been able to keep it afloat, but . . .” he tossed out his hands and grimaced, “things didn’t work out that way.”

Reading Group Guide

A Readers’ Guide for Dark Places by Gillian Flynn

For additional features, visit www.gillian-flynn.com.

In order to provide reading groups with the most informed and thought-provoking questions possible, it is necessary to reveal important aspects of the plot of this novel. If you have not finished reading Dark Places, we respectfully suggest that you wait before reviewing this guide.

Introduction
Libby Day has been unwillingly famous since age seven—when her family was massacred, and the brother she once adored was convicted of the crimes based on her accusation. Now in her thirties, Libby finds that the donated funds in her “Baby Day” account are nearly gone, and her financial supporters have moved on to fresher crimes. After decades of avoiding responsibility and effort, Libby is in need of a job.

The project that presents itself seems like an easy way to start: a “guest star” appearance for a group of true-crime fanatics who will happily pay to pick her brain about the “Kinnakee Kansas Farmhouse Massacre.” The fact that their version of the story differs from hers is merely an annoyance at first. But as doubt begins to needle at her long-held convictions, Libby takes another look at that long-ago night, and the dark place she’s run from since childhood.

1. Did you like Libby as a character? Do you think the author intended for her to be likeable?

2. As the book shifted between points of view, did you find one most appealing, most enlightening, or most reliable?

3. Why has Libby ignored Jim Jeffreys’s advice to earn an income for so many years? Do you believe she feels she’s earned the money she’s been gifted by strangers? What is her attitude toward money?

4. Throughout the book, many characters seem to feel as though life is something that happens to them; others take a more proactive role in steering its course, often with disastrous consequences. Discuss the book’s theme of action versus reaction, investigation versus acceptance. Where does Libby’s behavior fit in this contrast?

5. Like others Libby meets during her investigation, Barb Eichel seems pleased to have been contacted, having “wondered if you’d ever get in touch.” Why did Barb wait for Libby to come to her? Did Barb do enough to remedy the harm she thinks her book has done?

6. As Lyle first brings Libby through the Kill Club gathering, he distinguishes between different types of members—role players and solvers, for instance. Do you consider these to be meaningful differences? How do the various groups make use of the club?

7. In considering the case of the missing girl Lisette Stephens, Libby thinks to herself, “There was nothing to solve . . . She just vanished for no reason anyone could think of, except she was pretty.” Do you think it’s strange that Libby considers this an uninteresting case? What does her attitude toward Lisette say about her view of her own family’s murder? Was there something to “solve” in the Days’ murder?

8. What do you make of Magda, the middle-class Kill Club member so fond of Ben, and so callous to her own son? What does her character tell us, if anything, about the Kill Club and its members?

9. One of the appealing aspects of the Day case (according to Lyle) is the role of children as instigators, victims, and unreliable witnesses. Do you see any similarities among Krissi’s accusation, Libby’s false eyewitness account, and Lyle’s role in the California fires? Were these children to blame for their mistakes? In what ways did they attempt to right the wrongs they caused?

10. “No one ever forgives me for anything,” one character says. What role does forgiveness play in Dark Places? Which characters should be more forgiving? Less?

11. What do you think of Diondra’s relationships? Why is she attracted to Ben? Why is Trey such a constant companion? Do you think she was romantically involved with Trey?

12. Patty Day frequently worries whether she is a good mother. What do you think? How does the book depict parents in general? Who do you consider the “good” and “bad” parents in the book?

13. Did you think Ben was guilty? Does the author intend for us to doubt him?

14. Why doesn’t Diane return Libby’s phone calls? What does she mean at the end of the book when she says, “I knew you could do it . . . I knew you could . . . try just a little harder”? Do you like Diane?

15. Why do you think Libby, at the end of the book, thinks twice before shoplifting? Is this reflective of a new attitude toward the world? How?

16. Do you think Ben will find Crystal? What do you imagine their reunion would be like?

17. Why do you think the author chose to set the murders on a farm? What images and themes does the heartland and farming evoke?

18. Libby is a liar, a manipulator, a kleptomaniac, and an opportunist. Does she have any redeeming qualities? Are you able to empathize with her? If so, why?

From the B&N Reads Blog

Customer Reviews