The plot is told in the form of a flashback by a narrator who ties everything
together. It has a prologue and an epilogue to introduce the plot and
tie up the loose ends of unknown information.
Because he was born in England, James Hilton's style is very much British
Old School. The language has a distinctly British flavor and nuance,
and he uses language that is very much British in sound and description.
For example, even the American Barnard sounds more like a Brit trying
to imitate an American than like a real American! Furthermore, words such
as machines in reference to airplanes is much more British and more
1930's style than the modern novels we're used to reading. The flavor
of the work also is reminiscent of novels like The Great Gatsby in
that the time and place are so distant from 2006. Finally, the style is
more than just the British of the 1930's, but is also very class specific.
Conway is, for example, like Rutherford and the narrator, obviously from
the upper class of British society, being that he was a consul in the
diplomatic corps. That, too, is reflected in how the events are presented:
there is seldom any reference to poverty, the bad guys are often Middle
Eastern, and the lamas seem to be from wealthier groups like the Manchu
class of Lo-Tsen.
The first theme concerns the philosophy of Shangri-La: the exhaustion
of passions is the beginning of wisdom. This concerns the belief of the
lamasery that only when you lose the foolish passions that hold you to
the real world can you find wisdom to face the future. Conway had come
to this point even before he came to Shangri-La and that's why he was
a perfect choice for the new High Lama.
The second theme involves a world on the brink of destruction. Obviously,
Hilton when he wrote this in 1933, was beginning to see the signs of the
madness that would bring the world to a second world war. He creates this
paradise of Shangri-La where only the wise recognize their responsibilities
to the future and are the fragile link to save the world from total destruction.
Another theme is that of imagination. Conway expresses his satisfaction
that Rutherford has the ability to believe the story he is about to tell
him. However, the idea of imagination is meant for the reader as well.
The author wants us to see the beauty of possibility as expressed in the
mysterious land of Shangri-La.
A fourth theme involves the idea of fate or as Miss Brinklow calls it - Providence. The question is left with the reader about whether God has a hand in what happens to the four travelers. For at least three of them, Shangri-La is the answer to a prayer, but they are also a prayer answered for Shangri-La for what each can offer the future through the benefits of this valley. As for Mallinson, he is the antithesis of Providence, and so perhaps his fate - being lost in the end - is one that presents a lesson about foolishly turning away from God.
It is certain, because it is impossible is a quote from Tertullian,
a church leader and prolific writer during the early years of Christianity,
which reflects the idea we all hold inside that the most impossible things
in life are only possible if we believe them.
The rising action begins when the narrator meets up with Rutherford
in Berlin and is given a manuscript he had written telling Conway's story
in Shangri-La. Rutherford wanted the narrator to decide if what he reads
is believable or not. The rising action ends at the climax when the High
Lama names Conway the next High Lama.
The falling action occurs after Conway is named the new High Lama, who
then dies after living over 200 years. He feels responsible to help Mallinson
and Lo-Tsen leave the valley, because they have become a corrupting influence.
They both die, but Conway tells his story to Mallinson and then disappears
to search once more for the Valley of Blue Moon.
The point of view is sometimes first person when the narrator is speaking. It is mostly, however, third person when Conway's story is revealed.
Clapsaddle, Diane. "TheBestNotes on A Long Way Gone".
TheBestNotes.com.
>.