“If only you knew what it means to walk away from something, what it takes.”
Laura Lippman’s standalone novel, Sunburn begins in 1995 when two strangers, Adam and Polly, meet in a bar in Belleville, a small town in Delaware. Their meeting seems accidental and innocent enough, but is it? After dumping her husband and child and hitching a ride, Polly finds herself in this dead-end town, while Adam claims to be passing through. He is attracted to this prickly redhead, and she doesn’t seem to mind the attention. Adam, who claims he has a few months to kill before moving on, decides to stay in Belleville and begins working in the same bar as Polly.
And why is she here, sitting on a barstool, forty-five miles inland, in a town where strangers seldom stop on a Sunday evening? Belleville is the kind of place where people are supposed to pass through and soon they won’t even do that.
As the plot unfolds, it’s apparent that Adam and Polly are lying about who they really are and about their intentions. …
And why is she here? Does her husband know where she is? Does the husband know anything? Why did she leave him? And her little girl, how does that work? Feral his client says of her. No capacity for genuine emotion. She’s out for herself, always.
“Whatever you do,” his client says, “don’t turn your back on her.” Then he chuckles in an odd way. “Even face-to-face, you might not be safe with that one.”
Although the two central characters are introduced immediately, and we know their innermost thoughts, the controlled narrative keeps us at a distance, parceling out slivers of information at a time. Just as we come to know the real reason for Adam’s interest in Polly, we also begin to understand exactly what Polly is running from.
And yet, even though we discover elements to Polly’s past that might create some sympathy… there’s a lot about Polly that sends shivers down the spine. She’s cold, hard, and calculating and uses men to get what she wants.
The goal is never a man. Never. Men are the stones she jumps to, one after another, toward the goal.
There’s a murder in Polly’s past and very possibly another looming in her future. In creating Polly who is clearly fashioned as a noir femme fatale (think Phyllis Dietrichson), Lippman takes chances, and yet she succeeds admirably in her noir archetype creations. Polly is not a woman who’s easy to warm to–although Adam certainly charges in–despite many warnings. With Polly as the reptilian, intriguing femme fatale, that leaves Adam as the gullible male, well one of them, at least.
You have to be willing to leave some doors closed, to focus on the task at hand. Some people are like rabbit holes and you can fall a long, long way down if you go too far.
Lippman has written a range of crime fiction, and Sunburn is a far darker read than the Tess Monaghan novels.