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Resumen: Gone Girl de Gillian Flynn se ha convertido en una de las más exitosas y conocidas novelas de crímenes de los últimos años. Pero, ¿por qué? Este artículo explorará el personaje de Amy Elliott Dunne como mujer psicópata que ha revertido y cuestionado las creencias sociales de género, psiquiátricas y de actancia para las mujeres. Amy será analiza utilizando textos psiquiátricos canónicos, una narración autobiográfica y los enfoques más innovadores de la psicopatía para probar que, al terminar la novela, se ha convertido en la única persona capaz de definir su identidad, su cuerpo y su vida. Título en inglés: “Every morning you have to wake up and be you?” Psychopathy and Agency in Gillian Flynn’s Gone Girl (2012).Abstract: Gone Girl by Gillian Flynn has become one of the most successful and well– known crime fiction books in recent years. But why? This article explores the character of Amy Elliott Dunne as a female psychopath who has managed to subvert and question gender, psychiatry and agency expectations for women. Amy will be analysed using canonical psychiatric texts, a biographical account and the most innovative approaches to psychopathy to prove that by the end of the novel she emerges as the only dominant force in her life, her body and her identity

ResumenLa literatura de detectives se ha convertido en una de las principales formas de entretenimiento en el siglo XXI. Sin embargo, ha recibido escasa atención como herramienta de subversión feminista. Las mujeres y los roles de género que se representan en estos textos se han convertido en productos culturales de subversión postmoderna que cuestionan los discursos dominantes y las estructur as de poder. Este artículo explora las políticas identitarias de construcción del cuerpo y sus consecuencias para la dramatización de las detectives contemporáneas.Palabras Clave: Literatura, feminismo, cuerpo, género, discurso, política. AbstractCrime fiction has become one of the main forms of entertainment in the 21st century.However, it has received little attention as a tool of feminist subversion. The representation of women and gender roles have turned crime fiction into a cultural product of post-modern subversion that questions dominant discourses and power structures. This paper analyses the identity politics that construct bodies and its consequences for the dramatization of contemporary female detectives.

The forensic thriller has traditionally been constructed as a mainstream American narrative focused on the stereotypical representation of the country as a metropolis with an incredible amount of resources, and the American capitalist dream. The author Patricia Cornwell (Postmortem, first novel in the Kay Scarpetta series, published in 1990) is considered the founding mother of this crime fiction subgenre native to the US, closely followed by Kathy Reichs (Deja Dead, first novel in the Temperance Brennan series, published in 1997) whose series have been successfully adapted to television in the show Bones (2005-2017). But the 21st century has seen the inclusion of more diverse settings for these stories, the South being the most economically successful and dominated by women authors too. Georgian Karin Slaughter is the author of the “Grant County” series, set in the fictional town of Heartsdale, in rural Georgia, and responsible for the inscription of the South in American forensic thrillers thanks to her own experience as a native. Blindsighted (2001) includes elements from both the grotesque southern gothic and the hard boiled tradition. My analysis of the first novel in the series will examine how the southern environment becomes quintessential to the development of the crimes and the characters from a literary, philosophical and feminist point of view. The issues examined will include, but not be limited to crime, morals, religion, professional ambition, infidelity, divorce, sexual desire, infertility, and family relationships.