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Content Warning: This section of the guide includes discussion of pregnancy termination, sexual content, child sexual abuse, sexual violence, and rape.
Author Francine Rivers is an evangelical Christian, and this particular branch of Christianity informs much of the text. The novel is filled with biblical allusions, from character names to several plot arcs, but the most direct link to Rivers’s faith is the way characters communicate directly with God. Unlike other branches of Christianity, in which God is a distant figure or communicates through the priesthood, evangelical Christianity preaches an intimately personal relationship with the divine.
To solidify the importance of this direct connection, the book’s typeface is enhanced so that God’s words stand out from the rest. While characters’ internal thoughts are depicted by italicized text, communication from God is both bolded and italicized. This suggests not only that the words are manifesting inside the characters’ minds, but also that they are louder, clearer, and more substantial than the characters’ own thoughts.
Though almost every character believes in God, very few are aware of the way they can communicate with the deity. Michael is the most practiced and refined exhibitor of this skill. He tells Sarah as much, saying that “[God] talks to everyone personally. Most people just don’t bother to listen” (111). Very gradually, Sarah begins to hear God’s voice. As she becomes better acquainted with this connection, she learns to listen to what God is saying and follow his orders. When she acts on God’s command—singing a hymn on stage at Duke’s gambling house—God instantly rewards her by having Jonathan Axle rescue her. By opening up the line of communication with God, Sarah is born again.
However, God’s words are not the only ones Sarah hears. Just as there is an open line of communication with God, there is an open line of communication with what the novel frames as temptation and impurity. Sarah’s thoughts of temptation and self-doubt are represented by bolded type. Throughout the novel, these words inspire Sarah to run away, abandon Michael, and remain a cynic and a pessimist. An important part of Sarah’s growth is learning how to distinguish the tempting, dangerous words she hears in her head from the true word of God.
Family, in all its various shapes and forms, is a persistent theme in the novel. There is the broken family into which Sarah is born, the camaraderie among sex workers in the brothel (a makeshift family), the unwanted marriage to Michael, the love of the Altman family, and the eventual miracle that provides Michael and Sarah with their own family. Each one differs, but they all represent how the strength of family bonds can triumph over anything.
Sarah’s first experience of family is traumatizing. She is the product of her mother, Mae’s affair, with a married man who wanted Sarah to be aborted. Sarah’s father abandons both Mae and Sarah, causing Mae to resent Sarah for (in her view) driving away the man she loves. This is not a functional, loving family. At no point in her early life is Sarah truly supported by her family, which culminates in her uncle sexually trafficking her. The last time she sees anyone in her biological family is when she is forced to have sex with her father.
Sarah’s next family is formed by the women she works with at a small-town brothel, who often bicker and tease like sisters. Though they are thrown together by their material circumstances, these women form a real bond. It is not ideal, but Sarah finally has something resembling a family’s support network—especially with Lucky, her closest confidante. However, this does not last.
When Sarah is taken from the brothel to Michael’s home, she is introduced to a conventional family: the Altman family. When they first meet, Sarah is wary of the Altmans because of their closeness and evident love for one another. They represent the kind of open love that Sarah taught herself to avoid. But as much as she comes to love both the Altman family and Michael, their presence is also a curse. Sarah worries that her past will prevent her from functioning in a traditional family unit—in part because her forced sterilization means she cannot give Michael the children he wants.
Before Sarah can fully accept her place in Michael’s family, she gains valuable insight from two other families. First, Jonathan Axle saves her from Duke and makes her a part of his household. With the Axles, she learns about love, acceptance, and how to function in a family unit. Then, Sarah opens the House of Magdalena to offer sex workers a chance at a new life, which helps her recapture the family feeling she enjoyed in the Pair-a-Dice brothel.
Family is Sarah’s reward for accepting God into her heart. After a lifetime of turmoil, listening to God’s words provides her with everything she has ever wanted or needed. This is especially evident in the epilogue, where it is revealed that, despite her sterilization, Sarah eventually bore four children.
Evangelical Christian views of sin and salvation heavily shape the novel’s attitude toward morality. Rivers’s basic message about the human need for redemption aligns with Christian teaching broadly, but she grounds this in a narrative centered on topics of particular interest to evangelicals: sexual morality, abortion, etc.
The novel’s focus on “redeeming” Sarah specifically illustrates this point. While Christianity teaches that all people require redemption, the narrative is largely about extricating Sarah from sex work, reflecting the heavy emphasis evangelical Christianity places on women’s sexual “purity.” Likewise, Sarah’s abortion and sterilization weigh heavily on her, informing her sense that she is unworthy of being Michael’s wife. The novel’s emphasis on female sexual mores is particularly significant given that Sarah has little say in any of these actions: The abortion is forced, and the sex she has with her clientele ranges from coercive to outright rape. Sarah’s ultimate commitment to helping other women leave sex work underscores this framing: Her project is framed as a moral crusade to save the women’s souls, not simply an attempt to help women who have been victimized leave their abusers.
The novel softens this framing somewhat by suggesting that it is Sarah’s attitude toward her past, as much as that past itself, that requires divine compassion and forgiveness. Sarah believes her past experiences are the totality of her character. From a young age, she blames herself for her father’s abandonment and her mother’s impoverished life and tragic death. When she is sold to Duke and repeatedly raped, Sarah feels shame and grows to believe she is unworthy of love. This despairing attitude is itself sinful in Christian understanding, as it effectively denies God’s capacity for mercy.
Michael’s purpose in the novel is to convince Sarah that she can be redeemed, which is a struggle for them both. Sarah refuses to believe that Michael has good intentions. When he is kind or gentle with her, she assumes that he wants sex; whenever he forgives her for running away or fighting him, she thinks he is a fool. Sarah believes the only thing she deserves is punishment, which is why she tries to scrub the sins from her flesh using stones at one point. It is only when Sarah finally accepts the word of God that her sense of morality and her relationship to it fundamentally changes. Understanding God’s redemptive love allows Sarah to extricate her sense of self from her past and let go of her shame—merited or not—for good.



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