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45 pages 1 hour read

Rumaan Alam

Leave the World Behind

Fiction | Novel | Adult | Published in 2020

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Symbols & Motifs

Flamingos and Deer

Early in the book, Rose sees a herd of deer moving through the yard that she knows is abnormal, and the novel periodically returns to that herd, which is growing alongside the scope of the crisis. The narrative eventually reveals that the next generation of deer will be born white. The deer represent the way that the world is rapidly changing in ways humans can’t predict or control. This same motif happens with the arrival of flamingos in the pool toward the end of the novel, which symbolizes the end of the rational, explicable world that the characters have lived in. What would have been a cause for wonder at some sublime coincidence is now a cause for anxiety and terror. The color of the flamingos arises in both Archie and Amanda’s vomit the next morning, and further hints at the uncanny position the characters are in: They can no longer tell hangover from mortal illness. The characters’ encounters with nature embody this lack of clarity: The presence of deer and flamingos are bits of information stripped of their referent in an apocalyptic world.

Cracked Glass

When a loud sound first appears in the novel, it leaves a hairline crack in one of the glass doors in the house. The vacation house, which the novel describes as thoughtfully designed, well-appointed, and meticulously maintained, is symbolic of the ability of people who are well enough off in a society to live completely divorced from consequence or inconvenience; the crack in the glass is a flaw that points to the growing awareness among the characters that their comfort in this house is a lie that the world’s events is disrupting. Each character that encounters it has a reckoning with the introduction of entropy into their world: The house, designed as a place where time and the outside world becomes unimportant, is a dream beginning to break both literally and figuratively.

Upstairs/Downstairs

The tensions of race, age, and class are omnipresent from the moment G. H. and Ruth enter the novel, which is complicated by the vacation rental agreement that they have with Amanda and Clay. In particular, confinement to the downstairs room upsets Ruth, as she is very aware that this is putting her into the subservient position in her own home—the downstairs bedroom was designed for elderly relatives or guests, not her. Existing in the margins like this echoes the long history of race relations between Black people and White people who may mean well but occupy space in ways that create economic and social disadvantages for Black people. Being forced downstairs in their own home represents several different, interrelated issues for Ruth: gentrification, ageism, and racial marginalization. 

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By Rumaan Alam