GH stands at the door with his hands aloft, “a gesture that was either conciliatory or said Don’t shoot”. Only Alam could turn the contents of the family’s supermarket trolley into a cultural diagnosisīegging entry are George (GH) and Ruth Washington, a black couple in their 60s who claim to own the place. “They’d made a nice life for themselves, hadn’t they?” The children – Archie and Rose – are sun-kissed and sleeping their Brooklynite parents – Amanda and Clay – are basking in a post-coital glow. The walls are white, the picket fence is white, and inside the house is a white middle-class family of holidaymakers “pantomiming ownership”. In a field surrounded by woods stands a lone brick house – “the very material the smartest piggy chose because it would keep him safest” – a luxurious Long Island vacation rental that is out of reach of mobile phone service, and out of earshot of the neighbours. Alam’s trope-heavy third novel has the makings of a farce, and the portents of a slaughter. When a midnight knock breaks the quiet of Rumaan Alam’s Leave the World Behind, any one of these plot creatures might be waiting on the doorstep. It’s the narrative spark of children’s jokes, fairytales and campfire ghost stories, of drawing-room dramas and horror film bloodbaths.
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