48 pages • 1 hour read
James HiltonLost Horizon
Fiction | Novel | Adult | Published in 1933A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Essay Topics
The narrator and Rutherford are only present in the Prologue and Epilogue sections, and yet they are the people through whom readers experience Conway’s story. What is the purpose of the framing device set up in the Prologue and Epilogue sections of the text? What textual support lends to the importance of the narrator and Rutherford as characters in the story, and how do their perspectives inform a reading of the manuscript Rutherford shares?
When Conway, Barnard, Brinklow, and Mallinson are kidnapped, they are in the process of escaping a revolution. How does this beginning to Conway’s story inform later events at Shangri-La? How does the backdrop of political turmoil and war contribute to the appeal of Shangri-La, and how do the different characters perceive the Baskul incident?
Conway, Barnard, Brinklow, and Mallinson all bring different perspectives to Shangri-La. Summarize each character’s goals and then contrast them with the purpose the High Lama gives Shangri-La. What values and goals allow Barnard and Brinklow to make lives for themselves in the valley? What is it about Mallinson’s understanding of his life that makes him so eager to leave Shangri-La? What makes Conway a good candidate for lama-hood?
Karakal is supposed to be exceptionally tall and geometric in appearance, and its name means “blue moon” in Tibetan. Why is the appearance of Karakal important to the story? How do its height and shape inform its value as a symbol? Why might Karakal appeal to Conway, specifically, but not to his companions?
Chang is reluctant to answer many of the travelers’ questions. What purpose does his secrecy serve in the scheme of Shangri-La, and how does his secrecy further the narrative? How does Chang both confirm and subvert racist stereotypes?
Perrault is a Christian missionary, but does he remain Christian over his stay at Shangri-La? What might the meshing of Tibetan and European cultural values reveal about Hilton’s message in the novel?
In some ways, Perrault is a traditional white savior, providing the impetus for improvement in the Karakal valley and then presiding over the affairs of the valley society for hundreds of years. What evidence does the text provide to argue for the necessity of Europeans in the valley, and how might that necessity translate to real-world beliefs on imperialism?
Lo-Tsen is not given characterization as a woman with agency beyond her supposed love for Mallinson. In what ways do sex and gender play into the narrative? When women are discussed, what tone is used, and what roles do the men in the novel envision for women?
As the novel progresses, the contrast between Conway’s personality before and after World War I becomes more pronounced. When he envisions the Shangri-La in his mind crumbling, is he reverting to a previous version of himself? What compartments does Conway make in his mind, and how do they each interact with the world around him? The last message received from Conway indicates that he is returning to Shangri-La, but what might have changed his mind regarding the mysticism of the valley of Karakal?
The ending of the novel is intentionally ambiguous, leaving open the questions of whether Shangri-La is real, whether the mystical properties of Karakal are valid, and whether there can truly be peace after the trauma of World War I. What thematic purposes does this ambiguity serve? How does Conway reconcile his own uncertainty?
