Left Behind: A Novel of the Earth's Last Days

“The expressways that led to the airport looked like they had during the great Chicago blizzards, only without the snow. Cranes and wreckers were trying to clear a path through the front of the terminal so cars could get in and out, but that would take hours, if not days. A snake of humanity wended its way slowly out of the great terminal buildings, between the motionless cars, and onto the ramps. People walking, walking, walking, looking for a cab or a limo.”

The view from the plane offers a preview of the turmoil into which the characters will be inserted when they land. The metaphor of a “snake of humanity” suggests the slow, crawling progress of traffic; it also connotes biblical evil and the baseness of humanity, particularly in a crisis situation.

“A funeral home in Australia reported that nearly every mourner disappeared from one memorial service, including the corpse, while at another service at the same time, only a few disappeared and the corpse remained. Morgues also reported corpse disappearances. At a burial, three of six pallbearers stumbled and dropped a casket when the other three disappeared. When they picked up the casket, it too was empty.”

Descriptions of disappearances at funerals emphasize the difference between the Rapture and death. The fact that both living and dead individuals have disappeared prompts the question of where they have gone and why the phenomenon has affected both the living and the dead. The funereal imagery also emphasizes the sense of mourning present in the early part of the novel, as characters grieve the loss of those who have disappeared.

“He could wait no longer. Raymie’s door was open a crack. His alarm was beeping. Rayford turned it off. On the bed was a book Raymie had been reading. Rayford slowly pulled the blankets back to reveal Raymie’s Bulls pajama top, his underpants, and his socks. He sat on the bed and wept, nearly smiling at Irene’s harping about Raymie’s not wearing socks to bed.”

The short, declarative sentences in this passage reflect Rayford’s emotional turmoil and stilted progress into the room. The quotidian details of what his son was wearing and an ongoing conversation about socks add pathos by highlighting the day-to-day details that are now gone forever. Faced with the silence of a house abandoned, Rayford must come to terms with how the global crisis has changed his world.

“Jeff’s wife had proven forgiving and conciliatory. Jeff himself admitted he was puzzled that she would take him back. ‘Call me undeserving, but grateful,’ he once told Buck.”

This passage highlights the theme of Human and Divine Manifestations of Forgiveness. Jeff’s confusion about why his wife was forgiving and his awareness that he is undeserving of such forgiveness reflects the novel’s broader evangelical message about the power and incomprehensibility of divine forgiveness.

“‘Because I asked our pastor. He said if it was Jesus Christ taking people to heaven, he and I and you and Jeff would be gone, too. Makes sense.’ ‘Does it? I’ve never claimed any devotion to the faith.’ ‘The heck you haven’t. You always get into this liberal, East Coast baloney. You know good and well we had you in church and Sunday school from the time you were a baby. You were as much a Christian as any one of us.’”

Throughout the novel, the authors position statements about religion and evangelism within dialogue, rather than in the prose. In this passage, Buck’s father suggests the belief that church attendance constitutes Christianity. This idea foreshadows several characters’ later realization that salvation is about more than the mere appearance of faith.

“‘Oh, God, help me,’ Buck breathed, more exasperated than praying. But if there was a God, he decided, God had a sense of humor. Leaning against a brick wall in an alley in plain sight was a yellow bicycle with a cardboard sign clipped to it. It read, ‘Borrow this bike. Take it where you like. Leave it for someone else in need. No charge.’”

Buck’s facetious prayer foreshadows his progress toward genuine prayer later in the novel. The scene also emphasizes the importance of The Balance Between Skepticism and Faith in his character trajectory. The detail of the bike, its color, and the sign attached to it also adds detail to the setting of post-crisis New York.

“Rayford wondered what had gotten into him. He said he was happy for her, but he had come to the conclusion that those who had not disappeared had missed out on the greatest event of cosmic history. But what was he supposed to say—‘Oh, I’m sorry your family was left behind, too’?”

The title phrase of “left behind” is worked into the dialogue several times throughout the narrative. This instance suggests Rayford’s increasing understanding of the disappearance as a positive for those who were taken, as he comes to believe that they are in heaven. Conversely, the realization also suggests that those who are left on earth are in for a rough ride before their journey is over.

“‘Didn’t your mother tell you she believed that Jesus could come back some day and take his people directly to heaven before they died?’ ‘Sure, but she was always more religious than the rest of us. I thought she was just getting a little carried away.’ ‘Good choice of words.’ ‘Hm?’ ‘She got carried away, Chloe. Raymie too.’”

This passage highlights the novel’s theme of The Balance Between Skepticism and Faith, with two members of the family already having been literally and metaphorically taken away, and the other two still teetering at different points on their spiritual journeys. Rayford’s facetious comment about Chloe’s word choice characterizes their relationship and adds an everyday, relational element to the religious content of their conversation.

“As Buck hung up, the door of the pub was blown into the room and a blinding flash and deafening crash sent patrons screaming to the floor. As people crept to the door to see what had happened, Buck stared in horror at the frame and melted tires of what had been Alan’s Scotland Yard-issue sedan. Windows had been blown out all up and down the street and a siren was already sounding. A leg and part of a torso lay on the sidewalk—the remains of Alan Tompkins.”

The description of violence in this passage foreshadows the events that are expected to occur throughout the tribulation period. The abrupt progression from property damage to bodily damage makes the latter starker and more jarring.

“Jesus took our sins and paid the penalty for them so we wouldn’t have to. The payment is death, and he died in our place because he loved us. When we tell Christ that we acknowledge ourselves as sinners and lost, and receive his gift of salvation, he saves us. A transaction takes place. We go from darkness to light, from lost to found; we’re saved. The Bible says that to those who receive him, he gives the power to become sons of God. That’s what Jesus is—the Son of God. When we become sons of God, we have what Jesus has: a relationship with God, eternal life, and because Jesus paid our penalty, we also have forgiveness for our sins.”

This passage contains the central evangelical message of the novel: the salvation belief that is central to Evangelical Christianity. The word choice of a “transaction” puts the concept in definitive and concrete terms by connoting a financial transaction. It is significant that this message occurs in dialogue, for by allowing the various characters to speak their message, the authors refrain from creating narration that is overtly “preachy.” Instead, the characters voice many of the doubts and realizations that a real-life person might undergo on a similar journey towards conversion.

“Buck hung up and clapped. This is too good to be true, he thought. If there’s one guy who’s above these international terrorists and bullies and even the dirt at the London Exchange and Scotland Yard, it will be this Carpathia. If Rosenzweig likes him, he’s got to be all right.”

Buck’s positive sentiments about Carpathia foreshadow Carpathia’s eventual reveal as the Antichrist. By characterizing the situation as “too good to be true” and employing the singular and emphatic phrasing of “if there’s one guy,” the passage also highlights Buck’s strong desire to believe the best of Carpathia, foreshadowing that this desire will be dramatically undercut as the novel progresses.

“‘Arabic, Chinese, English, French, German, Hungarian, Romanian, Russian, and Spanish.’ ‘One more time,’ Buck said, thinking. Steve repeated them. ‘What’s on your mind?’ ‘This guy’s the consummate politician.’ ‘He is not. Trust me, this was no trick. He knew these languages well and used them effectively.’ ‘But don’t you see which language they are, Steve? Think about it.’ ‘Spare me the effort.’ ‘The six languages of the United Nations, plus the three languages of his own country.’”

LaHaye and Jenkins use dialogue between two journalists to incite further interest in Carpathia’s political agenda. The focus on languages related to the UN also emphasizes the theme of Corruption and Instability in a Post-Crisis World, for the use of multiple languages connotes enhanced powers of persuasion.

“‘Dr. Rosenzweig believes that some confluence of electromagnetism in the atmosphere, combined with as yet unknown or unexplained atomic ionization from the nuclear power and weaponry throughout the world, could have been ignited or triggered—perhaps by a natural cause like lightning, or even by an intelligent life-form that discovered this possibility before we did—and caused this instant action throughout the world.’ ‘Sort of like someone striking a match in a room full of gasoline vapors?’ A journalist suggested. Carpathia nodded thoughtfully.”

A recurring theme throughout the series is the feared effect of nuclear power. This passage foreshadows the series’ speculative perspective on some of the potential end times effects of nuclearization. The simile that the journalist expresses also provides a simplified explanation of this abstract and technical theory.

“‘But,’ Chloe said, ‘if he’s a deceiver, maybe he’s a good one.’ ‘Hey, which side of this argument are you on? Does this guy look like the Antichrist to you?’ She shook her head. ‘He looks like a breath of fresh air to me. If he starts trying to weasel his way into power, I might be suspicious, but a pacifist, content to be president of a small country? His only influence is his wisdom, and his only power is his sincerity and humility.’”

This quote foreshadows the reveal that Carpathia is the Antichrist and sets up the contrast between initial appearance and reality. The parallel sentence construction and repetition of “his” in the last sentence connotes the biblical rhetorical style of parable.

“‘I miss them, too,’ [Chloe] said, her voice quavery. Rayford turned and sat with his back to the bed. He held his arms open to her. She came and sat next to him, letting him hold her. ‘I believe I’ll see them again someday,’ he said. ‘I know you do,’ she said, no disrespect in her voice. ‘I know you do.’”

This passage highlights Rayford and Chloe’s character trajectories of moving from skepticism toward faith. The fact that their timelines in this process are staggered suggests that each person must undergo an individual path to belief and arrive at new conclusions in their own time. The tactile description of the characters’ closeness suggests the strength of the father-daughter relationship.

“‘No one knows the two men,’ said the CNN reporter on the scene, ‘who refer to each other as Eli and Moishe. They have stood here before the Wailing Wall since just before dawn, preaching in a style frankly reminiscent of the old American evangelists. Of course the Orthodox Jews here are in an uproar, charging the two with desecrating this holy place by proclaiming that Jesus Christ of the New Testament is the fulfillment of the Torah’s prophesy of a messiah. Thus far there has been no violence, though tempers are flaring, and authorities keep a watchful eye. Israeli police and military personnel have always been loath to enter this area, leaving religious zealots here to handle their own problems. This is the most explosive situation in the Holy Land since the destruction of the Russian air force, and this newly prosperous nation has been concerned almost primarily with outside threats.’”

This passage reflects the novel’s narrative technique of exposition about world events via news reports. It also includes two deliberate references to the potential preconceived notions that readers may have about the evangelical roots of the novel itself. By invoking images “reminiscent of the old American evangelists” and “religious zealots,” the authors indicate that they are aware of these traditions and are attempting to differentiate themselves from such groups.

“‘The attackers are dead of heart attacks.’ ‘I hadn’t heard that.’ ‘Yes. And the Uzi did not jam. It is in perfect working order.’ Nicolae seemed transfixed by the images.”

This passage foreshadows Carpathia’s identity as the Antichrist through his interest in the prophets. While Buck doesn’t know for certain, he has begun to become suspicious of Carpathia by this point in the narrative. The inclusion of the type of weapon the attacker used adds verisimilitude that contrasts the traditional, biblical type of prophetic scene.

“‘What?’ ‘He wants to move the U.N.’ ‘Move it?’ Steve nodded. ‘Where?’ ‘It sounds stupid.’ ‘Everything sounds stupid these days,’ Bailey said. He wants to move it to Babylon.’ ‘You’re not serious.’ ‘He is.’ ‘I hear they’ve been renovating that city for years. Millions of dollars invested in making it, what, New Babylon?’ ‘Billions.’ ‘Think anyone will agree to that?’ ‘Depends how bad they want him.’ Steve chuckled. ‘He’s on The Tonight Show tonight.’ ‘He’ll be more popular than ever!’”

The fact that the ancient city of Babylon and The Tonight Show are discussed in the same space creates a sense of verisimilitude and a closer relationship between the narrative world and the real world. Again, the authors employ dialogue between journalist characters to relate the plot events related to Carpathia’s rise and global politics.

“‘I need to know you forgive me,’ he said. ‘You seem really hung up on that, Rayford. Would that let you off the hook, ease your conscience?’ ‘I guess maybe it would,’ he said. ‘Mostly it would tell me you believe I’m sincere.’ ‘I believe it,’ she said. ‘It doesn’t make it any more pleasant or easier to take, but if it makes you feel better, I do believe you mean it. And I don’t hold grudges, so I guess that’s forgiveness.’”

This passage emphasizes the novel’s theme of Human and Divine Manifestations of Forgiveness. Because this takes place after his conversion, Rayford’s preoccupation with religion is represented as an aspect of his new Christianity. The authors suggest a contrast between Rayford’s attitude and Hattie’s, for her word choice of “I guess” suggests that she doesn’t understand the concept fully.

“Buck focused on Captain Steele, his pulse racing, looking neither right nor left. He could not move. He was certain the women could hear his crashing heart. Was all this possible? Could it be true? Had he been exposed to a clear work of God in the destruction of the Russian air corps just to set him up for a moment like this? Could he shake his head and make it all go away? Could he sleep on it and come to his senses in the morning? Would a conversation with Bailey or Plank set him straight, snap him out of this silliness?”

The inclusion of physiological details of pulse and heartbeat in this passage suggests Buck’s intense reaction to what Rayford is telling him. The use of questions also enables the reader to participate in his process of questioning and indicates his remaining doubt.

“The Holy Land attack had been a watershed event in his life. He had stared his own mortality in the face and had to acknowledge that something otherworldly—yes, supernatural, something directly from God almighty—had been thrust upon those dusty hills in the form of a fire in the sky. And he had known beyond a doubt for the first time in his life that unexplainable things out there could not be dissected and evaluated scientifically from a detached Ivy League perspective.”

The use of the parenthetical sentence construction mirrors Buck’s thought process. The belief that the event in Russia is otherworldly is a divergence from his usual way of thinking. However, he is unable to ignore it. The mention of Ivy League mindsets suggests the dichotomy that several characters experience of the internal conflict between their intellectualism and their growing faith.

“But when Bruce got to the parts about the great one-world religion that would spring up, the lying, so-called peacemaker who would bring bloodshed through war, the Antichrist who would divide the world into ten kingdoms, Buck’s blood ran cold. He fell silent, no longer peppering Bruce with questions or comments. He scribbled notes as fast as he could. Did he dare tell this unpretentious man that he believed Nicolae Carpathia could be the very man the Scriptures talked about? Could all this be coincidental? His fingers began to shake when Bruce told of the prediction of a seven-year pact between Antichrist and Israel, of the rebuilding of the temple, and even of Babylon becoming headquarters for a new world order.”

Throughout the novel, Carpathia’s true identity is extensively foreshadowed to be the Antichrist. In some instances, biblical prophecy precedes mirroring actions in world politics, and at times the situation is reversed. This pattern enables the reader to participate in the recognition and questioning of whether Carpathia is the Antichrist. Similar to the scene in which Rayford tells Buck about his faith, this passage includes questions and descriptions of physical sensation that reflect Buck’s inner turmoil.

“While no special feeling had come with Buck’s decision, he had a heightened sensitivity that something was happening here. There wasn’t a doubt in his mind that the Antichrist of the Bible was in this room. And despite all he knew about Stonagal and what the man had engineered in England and despite the ill feeling that came over him as he observed his smugness, Buck sensed the truest, deepest, darkest spirit of evil as he watched Carpathia take his place. Nicolae waited till everyone was seated, then rose with pseudodignity.”

This passage represents the complete shift in Buck’s perspective on Carpathia. The word choice of the term “pseudodignity” provides vivid imagery for the scene, as well as indicating how differently Buck now thinks of Carpathia, compared to his initial awe.