The Hunger Games Wiki

This wiki discusses various aspects of Suzanne Collins's The Hunger Games, and was compiled by students in English 100 (Lanning, Section 19, Fall 2012.)


Overview

“The rules of the Hunger Games are simple. In punishment for the uprising, each of the twelve districts must provide one girl and one boy, called tributes, to participate. The twenty-four tributes will be imprisoned in a vast outdoor arena [and]…must fight to the death. The last tribute standing wins” (Collins 18).

This disturbing dystopian concept, an oppressed society where kids kill each other, lies at the center of Suzanne Collin’s New York Times bestselling novel, The Hunger Games. The book has also received other notable awards including USA Today’s bestseller, Wall Street Journal’s bestseller, Amazon’s top 100 novels, and the 2009 Golden Duck award in young adult fiction. More than 17.5 million copies of the book have been produced in the US alone. Beyond the US, the book has been translated into 26 different languages. Since The Hunger Games was published on September 14th, 2008, it has grossed over a 100 millions dollars in total revenue. Recently, Lions gate entertainment teamed with director Gary Ross adapted the book into a motion picture (released to theaters: March 23rd, 2012), which broke records for opening box office weekend—152.5 millions dollars.

THE HUNGER GAMES OFFICIAL TRAILER
http://www.youtube.com/watch?v=FovFG3N_RSU

According to Ellie Berger, president of Scholastic publishing, “Suzanne Collins has created a vivid and compelling future world that has captivated both teen and adult readers and is sure to become a classic” (Hollywood Reporter). This partially explains the sociocultural phenomenon that The Hunger Games has instilled in its readers and viewers worldwide.

Dystopian Literature (Genre)

The Hunger Games spans across multiple genres—action-adventure, romance, thriller, and young-adult fiction—that appeals to a wide audience. However, most importantly, dystopian fiction remains the underlying genre of Collin’s novel. The scholarly book, Science Fiction Subgenres, describes dystopian literature as, “as often designed to critique the potential negative implications of certain present trends” (subgenres 65). Furthermore, other attributes that define dystopian fiction writing include, “satirical dimensions” (65) of the present, time change (often in the future), and an oppressive society that trumps the individual. Continuing, the inspiration for the work usually has some historical background. Some well known dystopian novels include, A Clockwork Orange (1962), Brave New World (1932), The Children of Men (1992), and Nineteen Eighty-Four (1949). The Hunger Games takes place in the atrophy of what used to be known as North America, now Panem. Furthermore, it is set in the distant future with the Capitol as its underlying oppressive power—forcing children to fight to the death. Suzanne Collins mentions in an interview with Rick Margolis (Interview) that a combination of Greek mythology, current footage of the War in Iraq, and reality TV influenced her writing. Considering The Hunger Games to be dystopian literature, there are common themes that one can expect to emerge. Some include mastery of nature, technological advancement, and division of classes—Panem’s 12 districts—and most importantly the role of oppression and deception in society. For the Hunger Games, deception or “masks” play a critical role in the development of plot and the implied criticism of our present society.

Plot Summary

The Hunger Games opens on the day of the reaping—the annual (74th year) day in Panem when each of the 12 districts participate in a drawing to offer their two tributes up to the Capitol’s oppressive “Hunger Games.” Panem occupies the ruins of once North America after an ambiguous apocalyptic event. The country of Panem consists of a deceptive and manipulative Capitol and its surrounding 12 districts (used to be 13), each responsible for adding to the wealth of the Capitol.

Right away the reader is introduced to Collin’s heroine, Katniss Everdeen, who has lived her whole life in district 12—the poorest of the 12 districts responsible for coal mining. Katniss Everdeen lives in the seam (poor area of the district) with her sister, Primrose, and her mother after her father died in a fatal mining accident. During the reaping, Katniss’ sister is chosen as the girl tribute. However, Katniss stands up and for one of the first times in district 12, she volunteers as tribute.

Through the use of Katniss’ narrative the historic story of district 13 is exposed. Years ago district 13 rebelled against the Capitol and consequently it was destroyed along with all its inhabitants. To remind people of their oppression and submission to the Capitol they initiated the annual Hunger Games.

Katniss and Peeta (the boy tribute from district 12) are taken to the Captiol in order to meet their game-guardians, Haymitch Abernathy and Effie Trinket. They are taught and prepared to survive the games once they begin. During this training period, Katniss leaves a profound impression on the people of the Capitol as, “the girl who was on fire.”—The costume she wore during the opening ceremony was on fire. Right before the games each tribute, from all districts, are interviewed on live TV by Caesar Flickerman. During this period, Peeta expresses his love for Katniss. Although sincere, this also gains the audience attention and puts district 12 at a better advantage then they have ever been.

The Games have begun! 11 out of 24 of the tributes are killed during the first day of the games. One quickly learns that they have to do more than just survive the other tributes. One must survive the gamemakers as well. The gamemakers are the ones that run the games each year—setting up the pre-game events, controlling the artificial arena, manipulating the players, making the rules, etc. Half way through the games katniss learns that if from the same district both may win the games. She sets out to find Peeta.

When Katniss and Peeta are all that are left at the end the rules are suddenly changed back to the original one winner in. However, Katniss and Peeta utilize these poisonous berries in order to pretend that they are committing suicide to defy the Capitol. However, right before they eat them, they are announced the winners of the 74th annual hunger games. Although treated like a hero, Haymitch warns Kantiss that her defiance of the Capitol has made her a political target which sets up Collin’s next two books in the trilogy—Catching Fire and Mockingjay.


Fire Symbolism

Overview

“’I want the audience to recognize you when you’re in the arena, ‘ says Cinna dreamily. ‘Katniss, the girl who was on fire’” (Collins 67). The Hunger Games is a young adult novel written in 2008 by Suzanne Collins. It is the first novel of a trilogy, followed by Catching Fire and Mockingjay. Katniss Everdeen, the protagonist, faces excruciating challenges in a troubling world and her journey is paved by a number of obstacles and experiences thrown at her. One constant theme swirling around the character of Katniss is the theme of fire. Walls of fire and fireballs force her to near-death, while burned bread and being able to start fires keep her alive against all odds. She becomes labeled as the “girl who was on fire” which sparks her rise to glory.

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Plot

The book is placed in a futuristic world in the country of Panem, which contains twelve districts as well as the Capitol—which is their powerful government. The time comes for the seventy-fourth Hunger Games and Katniss and Peeta Mellark are chosen to represent the twelfth and final district. One boy and one girl from each district are placed in an arena to fight to the death—in order to remind the country that revolution or revolt against the all-ruling and all-knowing Capitol is not an option. The districts live in a cruel society where essentially they are forced to provide for the glory and riches of the Capitol while they struggle to put food on the table every night for their respective families.

The odds are extremely against Katniss from the beginning, but as time goes on she begins to impress and catch some important people’s attention. She is mainly fighting for Prim—her little sister who is the only person in the world she really knows she loves. Peeta and Katniss, supported by their mentors Haymitch Abernathy, Effie Trinket, Cinna, and Portia, form an interesting dynamic on and off the battlefield. Katniss learns an incredible amount about herself and her country as the novel progresses—but first must survive the unforgiving evil that is the Hunger Games.

Origin and Symbolism of Fire

Fire is one of the key elements of nature and a vital part of the growth and development of the human species. Evidence suggests that humans first controlled fire around 1.7 million years ago (Bower 2000). Fire has grown from cavemen rubbing two sticks together to lighters and fireplaces ignited by the flip of a switch. Fire is used all over the world for some of the most basic purposes such as light, warmth, and cooking. Tsai writes in the Georgetown Law Journal,

We learn as young children that fire can hurt us. It can burn our body and lay waste to our home. It is at once terrifying and alluring, intense and blinding. In some quarters, particularly those influence by our rich religious traditions, fire represents judgment, fidelity, and endings. Yet even as fire has the capacity to destroy, it can also give us life, sparking knowledge or creativity: signaling passion or guiding us in our hour of need. The enduring image of fire—as well as our fascination with and understanding of its manifold characteristics—permeates our daily lives, flickering in and out of everyday language. (Tsai 2004)

Fire can do so much good but also has the potential to be terrible. Katniss confronts this issue multiple times in the arena and it is a key part to her survival.

Fire is symbolically similar to water in that it can be seen as purifying and regenerating, giving new life to someone or something. For example, wildfires in forests destroy everything in their path, but spark a fresh and new beginning in that area for many years to come. Fire can also be viewed spiritually. In the Bible and Catholic Church, the Holy Spirit is often referred to as being fire. On the other hand, fire can have a very destructive aspect—such as burning down homes and buildings. Hell is often depicted as a fiery dungeon filled with dangerous and brutal flames (“fire”).

“Good” Fire in The Hunger Games

Katniss benefits in a number of ways because of fire. After Peeta is chosen to join Katniss as the other representative for District 12, Collins uses a flashback to show the condition Katniss and her family used to be in. After her father died, her mother became useless and was too unstable to support the family. Katniss was forced to hunt and find a way to put food on the table. At one point, Katniss could not find food and was literally to the point of starvation. She stumbled her way to the bakery on her hands and knees, when the baker’s son threw loaves of bread to her. Later, Katniss discovers the baker’s son is Peeta. She recounts, “It didn’t occur to me until the next morning that the boy might have burned the bread on purpose. Might have dropped the loaves into the flames, knowing it meant being punished, and then delivered them to me” (31). Peeta used fire to burn the bread—which made it unable to be sold but it was a gift of life for the starving Katniss and her family. In this case, fire symbolizes a rebirth and regeneration for Katniss, as the loaves of bread hold her through her darkest time and have new life after.

Cinna, Katniss’s stylist for the Hunger Games, proves critical in portraying Katniss as “the girl on fire” in the opening ceremonies for the Games. This is especially important because it was the first time the country sees Katniss—and the stereotype of being a dirty girl from the coal mining District 12 is completely reversed when she rides out on the chariot with Peeta. Katniss explains,
Every head is turned our way, pulling the focus from the three chariots ahead of us. At first, I’m frozen, but then I catch sight of us on a large television screen and am floored by how breathtaking we look. In the deepening twilight, the firelight illuminates our faces. We seem to be leaving a trail of fire off the flowing capes (70).

Katniss glows in front of the entire country and they quickly fall in love with her. This helps her attract sponsors, who can send her supplies and necessities in the arena if necessary. Amid the celebration and newfound attention, Katniss says, “The pounding music, the cheers, the admiration work their way into my blood, and I can’t suppress my excitement. Cinna has given me a great advantage. No one will forget me. Not my look, not my name. Katniss. The girl who was on fire” (70). Being “the girl on fire” boosts her confidence tremendously, which is very crucial for her future. The ongoing confidence and recognition make her feel that she may actually have a shot at winning the Games and coming out alive.

Katniss also uses fire very strategically in the arena. She builds fires when necessary to cook her kills and also to keep her and Peeta’s spirits alive while resting in the cave for protection. Her most exemplary act with fire comes in her grand scheme to destroy the food supply of the Careers. Katniss and her ally Rue, the girl representative from District 11, devise a plan to lure the Careers away from their food supply by utilizing three signal fires. The smoke from the fires distracts the Careers and makes them go out and search for the easy kill. While Rue is starting the fires, Katniss waits and sends a bow and arrow into the food—causing a massive explosion and a huge change in momentum for the rest of the Games.

“Bad” Fire in The Hunger Games

Fire puts Katniss in a number of dangerous and life-threatening situations in the arena. Not only does she have to worry about the twenty-three other tributes trying to kill her, but also natural dangers such as fires and animals caused by the Gamemakers. The night of the first day in the arena, Katniss is perched in a tree when she discovers a fire in the distance. She thinks angrily, “I have to bite my lip not to scream every foul name I know at the fire starter. What are they thinking?” (158). This fire puts her in danger of being discovered, and becomes a reality when the Careers barely miss seeing Katniss while taking the person who started the fire out of the Games.

Katniss faces fire in a dramatic fashion later on in the arena, when the Gamemakers become bored by the lack of activity in the arena. Katniss wakes up one morning and sees trouble. She narrates, “The world has transformed to flame and smoke. Burning branches crack from trees and fall in showers of sparks at my feet” (172). A massive wall of fire has been sent through the forest and Katniss has to run for her life—literally (image on right). Gamemakers also send fireballs spiraling at the click of a button, and Katniss must dodge the repeated attacks. In the end, Katniss comes out alive but with a badly burned calf and sinking spirits. The ability for fire to be destructive and deadly is fully alive in this scene.

Conclusion

Fire plays a large role around the character of Katniss Everdeen. She faces it in her darkest moments but it also saves her life numerous times. We see the destructive aspects of fire when the fireballs are shooting through the forest but also the ability to give new life in the baker’s bread. The theme of fire in The Hunger Games is so significant, that the second book in the trilogy is actually named Catching Fire. Collins uses it as a symbol of hope and unity for the districts to overcome the oppression of the Capitol. Hopefully, Katniss can keep the fire burning.


The Power of the Environment

With no food or water, would you be able to survive if you were thrust into a foreign environment? How would you remain hydrated? Would you be able to defend yourself against unexpected dangers? In Suzanne Collins’ The Hunger Games, each boy and girl is placed into an unfamiliar arena where they have to find answers to these questions in order to stay alive. It would take one several days to walk from one end of this arena to the other, and the arena’s terrain includes only one main body of water surrounded by dense forest and meadows. Katniss Everdeen, the protagonist, is also faced with numerous unanticipated threats created by the Gamemakers . Although the arena of the Hunger Games presents itself as an area where no one can survive, Katniss Everdeen and Peeta Mellark in The Hunger Games are able to adjust to and use their environment in order to outwit their opponents and live on.
After the destruction of North America, the country of Panem emerged along with the Capitol surrounded by thirteen districts. However these districts soon revolted, and as a result, twelve districts were brutally defeated and one was even eliminated by the Capitol. As a sign of the Capitol’s power and to serve as an annual reminder to never revolt again, Panem created the Hunger Games. For these Games, one boy and one girl are chosen from each district at the annual reaping, and these children eventually fight to the death on live television for the whole country to see. Ultimately, the Capitol “[places] real people in artificial situations to see what happens” (Hirschorn 141). Due to the fierce competition to stay alive in a large and challenging environment, the Capitol is interested in seeing how the tributes change and decide to act throughout the Games.

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Katniss Everdeen is the narrator of the novel, who volunteers to participate in the Games after her younger sister, Prim, is chosen. Peeta Mellark is the male chosen to represent District Twelve in the Games along with Katniss. Before the actual Games, each character is beautified and transformed to better fit the high-standards of the Capitol. Throughout the actual Hunger Games, one has to survive both physically and emotionally if they want to come out of the arena alive. In the end, due to a unique twist in the Games, both Katniss and Peeta come out of the arena alive after not only battling other opponents, but also battling feelings of love for each other.

Throughout Suzanne Collins’ The Hunger Games, Katniss constantly uses the arena’s trees to her advantage. When the sound of the gong is heard and the Hunger Games begins, Katniss manages to obtain an orange backpack about twenty yards away from her. In this pack, Katniss finds iodine, matches, a coil of wire, sunglasses, dried beef strips, crackers, “and a half-gallon plastic bottle with a cap for carrying water that’s bone dry” (154). It first seems as if this pack has no significant use for Katniss; however, Katniss soon realizes that she can now sleep efficiently and comfortably. After picking a tree that’s “not terribly tall but set in a clump of other willows, offering concealment in [the] long, flowing tresses,” Katniss climbs up and begins to make her bed (155). She places her sleeping bag on a sturdy fork, and as an extra precaution, she ties herself to a branch with her belt to prevent her from falling. Lying in bed, Katniss thinks, “I’m sure there are several other tributes whose biggest concern right now is how to stay warm whereas I may actually be able to get a few hours of sleep” (156). By using the trees and the environment around her, Katniss already has an advantage over the other competitors, as she will be fresh and ready to go in the morning after a good night’s sleep.

Katniss also uses the trees around her in order to flee from the Career Tributes . After barely surviving the wall of fire created by the Gamemakers, Katniss finds a nearby pool where she treats her wounds. Unfortunately, just as Katniss begins to relax, she sees the Careers “closing in, just like a pack of wild dogs” (181). After quickly exiting the pool, Katniss finds another tree and begins to climb. When the pack of tributes reaches the base of the tree, Katniss becomes very nervous. She immediately thinks, “This could be it…What chance do I have against them?…look at their weapons. Look at their faces, grinning and snarling at me, a sure kill above them. It seems pretty hopeless” (181). At this moment Katniss almost accepts the fact that she is about to die. However, she soon realizes that all of the Career Tributes are bigger and heavier than she is, and as a result, she now thinks they won’t be able to climb the tree and reach her. In fact, while Cato is attempting to climb the tree, a branch breaks and he falls to the ground. Katniss does eventually escape her opponents; however if she wasn’t able to climb the tree, the Career Tributes would have viciously killed her.

Besides the vast amount of trees present in the arena, Katniss uses other aspects of the surrounding environment to her advantage as well. While up in the same tree with the Career Tributes below her, Katniss decides to fall asleep when her enemies decide to wait until the morning to attempt to kill her. However, just as Katniss is about to fall asleep, she sees Rue, the girl tribute from District Eleven, looking at her from another tree. Rue soon points to something above Katniss’s head, and Katniss quickly realizes there is a tracker jacker nest resting on a higher branch.

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In today’s world, one can tolerate one to five normal bee stings at a time, which is only followed by minimal local symptoms accompanied by swelling, redness and itchiness of the skin (Simics). However, according to Katniss, distinct from normal bees, these tracker jackers “were spawned in a lab and strategically placed, like land minds, around the districts during the war…most people can’t tolerate more than a few stings. Some die at once. If you live, the hallucinations brought on by the venom have actually driven people to madness” (185). After contemplating her options of how to deal with the nest, Katniss decides to drop it down on the Career Tributes. Immediately after the nest begins to fall, Katniss is stung and suffers “mind-bending apparitions” (Rees, 50). However, when the nest reaches the ground, Katniss notices, “It’s mayhem. The Careers have woken to a full-scale tracker jacker attack” (191). All the tributes flee to the nearest lake, and one tribute even dies right in front of Katniss’s eyes. When the chaos begins to die down, Katniss is finally able to climb down the tree. Along with using the environment, Katniss was also able to use the Capitol’s muttations to her advantage in order to escape from the Career Tributes.

Similar to Katniss, Peeta also uses the surrounding environment to his benefit, especially to disguise himself. When Claudius Templesmith tells the tributes there can be two winners if two tributes from the same district are the last ones standing, Katniss immediately starts to look for Peeta. When she finally finds him he is completely hidden in a muddy bank. Katniss thinks, “It’s the final word in camouflage…Most of what I judge to be his body is actually under a layer of mud and plants. His face and arms are so artfully disguised as to be invisible” (252). When man first daubed himself in mud, dressing to fool the eye was the art of the hunter rather than of the prey (Brunton 53). However, after being wounded by Cato, Peeta decided to stay in one place and remain hidden. Thus, Suzanne Collins illustrates how Peeta is actually the prey “dressing to fool the eye” in order to remain hidden from the hunter, or the Career Tributes (Brunton 53). Using the resources around him, he was able to successfully disguise himself from his opponents. Additionally, Katniss soon realizes Peeta has a severe leg wound and a very high fever, and if it wasn’t for the mud keeping him cool, Peeta would have died from becoming too hot and dehydrated.

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Caves and rockshelters have had a great importance throughout the world. They have been used in the ancient past as shelter or habitat by humans, and since antiquity, humans have explored these caves for the minerals they contain and sometimes even for ceremonial purposes (Boston, et. al 121). Throughout the last portion of The Hunger Games, Katniss and Peeta illustrate this importance of caves. When Katniss is helping Peeta walk after she discovers him in the muddy bank, she thinks, “Of course, I’d love to get him up in a tree, but that’s not going to happen” (259). Due to Peeta’s severe leg wound and his extremely high fever, it would be impossible for him to climb a tree. However, Katniss soon remembers how some of the rocks in the arena form small caves, and when she sees one nearby, Katniss and Peeta immediately enter. Once inside this cave, Katniss immediately spreads pine needles across the floor and helps Peeta get in her sleeping bag. Although Katniss and Peeta have to take turns keeping watch while the other one sleeps, they are almost completely concealed from the other tributes. In fact, when Katniss is forced to go to the feast at the Cornucopia to retrieve medicine for Peeta’s leg wound, she completely camouflages the opening of the cave in order to protect him when she is away. While she leaves she notices, “The cave now appears to be part of a large pile of rocks, like so many in the vicinity. I can still crawl in to Peeta through a small opening, but it’s undetectable from the outside” (278). Overall, this cave ultimately saves Peeta’s life. Instead of having to walk with a hurt leg and a fever, Peeta is able to take a break and lay down in the cave until he is able to move on.

Besides remaining hidden from the other tributes and helping Katniss and Peeta recover physically, this cave also aids in strengthening the relationship between Katniss and Peeta. For instance, since they are together in the same spot for several days, they are able to share numerous past experiences. Katniss tells Peeta the story of how her sister acquired her goat, and Peeta reveals to Katniss how he has had a crush on her ever since the first day of school. Katniss and Peeta also start to have stronger feelings for each other while in the cave, which eventually results in sponsorship. Katniss kisses Peeta the first night they are in the cave, and soon after they receive a pot of hot broth. Consequently, Katniss realizes, “Haymitch couldn’t be sending me a clearer message. One kiss equals one pot of broth” (261). After Peeta refuses to let Katniss leave to obtain the medicine that will help him survive, Haymitch also sends Katniss sleep syrup. Using this sleep syrup, Katniss is able to safely put Peeta out of consciousness for a full day while she obtains his medicine. Most importantly, besides the fact that Peeta’s life is saved, without this cave, the relationship between Katniss and Peeta wouldn’t have strengthened and developed. Without a strong relationship, Katniss and Peeta wouldn’t have been able to outlast the remaining competition and win the Hunger Games.

The main part of the environment both Katniss and Peeta use to their advantage to win the Hunger Games is the use of nightlock berries. After Peeta accidentally kills Foxface after she eats the poisonous berries he is unknowingly gathering, Katniss decides to save some of the berries as she thinks, “If they fooled Foxface, maybe they can fool Cato as well” (321). In case Cato is ever chasing Katniss and Peeta, Katniss could drop the berries and maybe trick Cato into eating them. However, after Cato is killed by wolf-like muttations and the rule allowing two tributes from the same district is revoked, Katniss remembers that she still has the berries. She also recalls how, “Without a victor, the whole thing would blow up in the Gamemakers’ faces. They’d have failed the Capitol” (344). In order to avoid another revolt by the districts, it is essential that the Capitol has at least one tribute come out of the arena alive. As a result, Katniss decides that neither she nor Peeta should win.

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Making sure the cameras in the arena are focused on them, Katniss places the berries in her palm as well as in Peeta’s palm. On the count of three they begin to place the berries in their mouths, but just as they pass their lips, Claudius Templesmith announces that the Games have finished and that both Katniss and Peeta are victorious. By using the poisonous berries to make it seem as if both she and Peeta were going to die, Claudius had to intervene and declare both of them winners of the Hunger Games. Without the berries, Katniss and Peeta would have been forced to decide who would live and who would die.

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In April of 2007, armed with only a map, twelve days of food, and a compass, Loïc Pillois and Guilhem Nayral were dropped off on the Approuague River at the Grand Kanori rapids in the center of French Guyana. However they quickly became lost, and after only eating frogs, bird-eating spiders, turtles, and centipedes, they emerged alive after several weeks. On May 1, 2003, an enormous boulder fell on Aron Ralston’s arm and trapped him in a canyon wall. When he started to run out of food and water, using a dull pocketknife, he cut off his own arm in order to escape. Similar to Katniss and Peeta, these two Frenchmen and Aron Ralston adapted to their surroundings in order to remain alive. They ate things they normally would not eat, and they also acted in ways they normally would not act. If it wasn’t for quick thinking and acting upon instinct, as well as using the environment to their advantage, these three people would not have returned home, and Katniss and Peeta would not have won the Hunger Games.


Political Oppression

Suzanne Collins’ The Hunger Games is a recently published novel written for the young-adult crowd. The novel has even more recently been adapted into a film, showing in theaters today. As the first book of a three-book trilogy, it has been highly reviewed and familiarized through the media, often being compared to the Harry Potter and Twilight series. The Hunger Games book, published in 2008, takes place in a futuristic dystopian era where the 16-year-old protagonist and heroine, Katniss Everdeen, must face the battle of a lifetime. Set in the nation of Panem, the ruins of what was once North America, the plot of the novel centers around the struggles of political oppression felt by the people of the surrounding Districts. In a nation where the government forces its people to kill each other, how would you survive?

Katniss Everdeen, who is hardly your typical damsel in distress, survives in an era where daily life is considered a struggle. Under the reigning thumb of the wealthy Capitol, the people of the distant and impoverished twelve districts not only struggle to obtain food and sustenance, but must subject themselves to the terms and conditions of the oppressive Capitol. The people of each of the twelve districts must participate in what is known as the Hunger Games, a tradition set forth by the Capitol after a failed rebellion of the thirteenth district—which was also terminated to demonstrate the Capitol’s power. In an unfortunate lottery system known as the reaping, each district must sacrifice one boy and girl between the ages of twelve and eighteen to compete to the death in an arena. There may only be one victor in the Games and the prize is food for the victor’s district. It is during an emotional reaping that Katniss’ world transforms as her younger sister Prim’s name is called to compete in the Games. It is at this point that Katniss nobly volunteers to take the place of her twelve-year-old sister as tribute.

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Each year after reaching the age of twelve, the name of a possible tribute is entered for the reaping thereon every year afterward. There is a catch however, and any potential tribute may decide to enter their name into the reaping for the compensation of tessarae—a supply of grain and oil. The children whose families are suffering the weight of poverty hold the option of entering their names in order to provide for them, also increasing their probability of being selected for the Games. It is through this system that the Capitol is able to oppress and control the people of the districts, all through the means of evoking hunger of the poor. Those who live in poverty are at a significant disadvantage as they maintain one of two choices—either starvation or falling victim to the Capitol’s system. The Hunger Games serve as both a deterrent for a future rebellion as well as a way to oppress the poorest of the poor, creating an unjust safety net for the wealthy. The means by which the Capitol oppresses the people of the districts through evoking hunger is apparent not only because the prize of the Games is food, but because the hungry and poor are puppet to this oppression. In this manner, the Capitol maintains all the wealth and power of Panem. Thus, the lives of the people in Panem are synonymous with the ideologies of the Occupy Movement : “Occupy has done much to cast the U.S. and U.K. as dystopias, as pictures of police in riot gear confronting protestors have proliferated in the media…” (Doherty 4). The wealthy Capitol maintains all the control and wealth of Panem, while the twelve districts, or the majority, not only lack representation, but are subjected to conditions of which the wealthy holds no fear.

The Games themselves seek to oppress the people of the districts, as they are not simply forced to compete in them annually, but also forced to watch the Games which are televised on a gigantic television screens across the nation. Katniss describes this situation as a method for the Capitol to exert another form control over the districts, a reminder that the districts are completely submissive to the Capitol: “Taking the kids from our districts, forcing them to kill one another while we watch – this is the Capitol’s way of reminding us how totally we are at their mercy” (Collins 18). The people of the districts are well aware that the Games serve as a reminder for the failed rebellion and symbolize the control that the Capitol reins. However, the forced viewing of the Games serves as an even deeper form of oppression, as the people of the districts are constantly controlled, even down to the very motions they perform. Katniss reflects upon the Capitol’s actions: “To make it humiliating as well as torturous, the Capitol requires us to treat the Hunger Games as a festivity, a sporting event pitting every district against the others” (Collins 19). There is an even greater element of control within the participation of the Hunger Games, as the people of Panem are forced to watch their children die. This is an incredibly cruel form of mental control that the Capitol exerts over the districts.

While the people of Capitol treat the televised aspect of the Games as a form of entertainment, attempting to create an aura of excitement, they even go so far as manipulating situations within the arena for the sake of dramatics. The Gamemaker’s who control the conditions of the arena decide what is shown to the districts, often censoring the material that is filmed during the Games. The Capitol is thus able to control what the people of the districts are exposed to, extracting any content that may be at their own expense. While Katniss watches the final product of the televised Hunger Games, she is aware of the Gamemaker’s manipulations of events: “It’s like watching complete strangers in the Hunger Games. But I do notice they omit the part where I covered her in flowers. Right. Because even that smacks of rebellion” (Collins 363). Although the people of the districts are forced to watch the Games themselves, the Capitol furthers this control by deciding what they will be exposed to through the element of censorship. In this way, the people of the districts are not actually aware of the true form of oppression they face—they are completely left in the dark. An article about censorship states: It is no more complicated than someone saying, "Don't let anyone read this book, or buy that magazine, or view that film, because I object to it!" Censors try to use the power of the state to impose their view of what is truthful and appropriate, or offensive and objectionable, on everyone else (“Culture Shock”). Similarly, the Capitol deems what is appropriate for the people of Panem to witness, censoring any material they please.

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The need to maintain a sense of self is crucial for the tributes of the Hunger Games, as they are subjected to conditions that compromise their identity. Given the task of killing other children for the sake of entertainment, meanwhile for their own survival, the tributes posed with a dilemma. While Katniss and the boy tribute from her district, Peeta Mellark await the Games and contemplate the task they are soon to face, Peeta is overcome by the idea that the Games will change him. He confesses that he wishes for this not to happen to him, and that he yearns for a way to prove his independence of the Capitol: “I don’t want them to change me in there. Turn me into some kind of monster that I’m not…I’m sure I’ll kill just like everybody else. I can’t go down without a fight. Only I keep wishing I could think of a way to…to show the Capitol they don’t own me. That I’m more than just a piece in their Games” (Collins 141-2). The struggle within the tributes is obvious as the need for survival dominates any other superficial needs they may have. Peeta is well-aware of the fact that he must kill in order to survive, but he feels conflicted as he is unsure of how will resist being manipulated into a different version of himself by doing so. This is the most extreme form of manipulation and oppression that the Capitol enforces, the compromising of the personal identities of the tributes. Dystopian fiction is in fact notorious for this form of oppression: “If utopian societies are typically designed to enable the maximum fulfillment of human potential, dystopian societies impose oppressive conditions that interfere with that fulfillment” (“Dystopian Science Fiction”). The tributes of the Hunger Games face this interference with human potential, as they are pitted against one another, forced to surrender their own identities by becoming a pawn in the Capitol’s game.

It is clear that the concepts of The Hunger Games are portable ones; as the themes of political oppression seen in Panem can also be seen within America. It is possible that the parallels of the people of the districts to the efforts of the Occupy Movement as well as the censorship that we can relate to hold a much deeper meaning. Is it possible that Suzanne Collins chose not to create a made-up fictional world for the reader, but to create one which uncannily resembles our own? Does that also imply the possibility that this is a warning of what is to come for in the future? In an article about dystopian fiction, an intriguing point is made about the idea of a dystopian future: “Often, the most valuable thing we can get from dystopian fiction is not a view of what’s going to happen, but of what we fear will happen, fears we don’t always express clearly or examine as much as we should. These stories can make us think about why we fear certain things in our own culture and others, and whether those fears are valid or are in themselves destructive and dangerous” (“Dystopia and Science Fiction”). It is also quite possible that the elements of The Hunger Games do no represent what will happen in the future, but are a direct representation of fear of our own society. It is interesting to ponder this ‘did the chicken or the egg come first?’ anecdote. Are we fearful of the destiny of our society simply because we read these dark dystopian fiction novels, or is our fear so legitimate that this is the perfect outlet to promote caution? As with the ‘chicken and egg’ notion, it may be impossible to ever know for sure.

Bibliography
"Definitions of Censorship." Culture Shock n.pag. PBS. Web. 16 Apr 2012. <http://www.pbs.org/wgbh/cultureshock/whodecides/definitions.html>. Doherty, Mike. "What Occupy can learn from the Hunger Games." n.d. n. page. Web. 15 April. 2012. "Dystopia and Science Fiction: Blade Runner, Brazil and Beyond." n.pag. Web. 15 Apr 2012. <http://dcmrg.english.ucsb.edu/WarnerTeach/E192/bladerunner/Dystopia.Blade.Runner. Hoffpauir.htm>. "Dystopian Science Fiction." Science Fiction Subgenres. n. page. Web. 15 Apr. 2012. <https://uwmad.courses.wisconsin.edu/d2l/lms/content/viewer/view.d2l?tId=9616664&o u=1681649>.

A Contemporary Classic: Ancient and Modern Influences

In a society controlled by fear, there is no room for sympathy. The nation known as Panem is full of citizens who suffer from hunger and oppression. This suffering has been forced upon by the dystopian rulers of Panem who reside in the Capitol. The Hunger Games by Suzanne Collins is one of the most compelling pieces of literature for young adults of the 21st century. Sixteen-year-old Katniss Everdeen is from the poorest of the districts in Panem, Twelve. Her story takes her from Twelve and into a televised fight to the death known across Panem as the Hunger Games. Little does she know that what awaits her in the arena could bring true justice not only to herself, but to all of Panem. The reason behind all the hype for The Hunger Games is how Collins incorporates all aspects of a fiction novel, and narrates it through the eyes of Katniss Everdeen. The Hunger Games has caught the attention of millions of people in not just the United States, but across the globe. Collin’s ability to incorporate past and present sources including Greek classics as well as the contemporary styles of reality television makes The Hunger Games a unique read. This fusion of sources left Collins with seemingly limitless avenues to portray the compelling story of Katniss Everdeen, “the girl on fire”.

The Hunger Games takes place in the future after the previous nation of the United States has fallen due to war and corruption and transformed into a dystopian society Panem. Katniss Everdeen becomes subject to the cruelty of the nation’s leaders known as the Capitol. To remind the twelve districts of Panem that the Capitol city is the dominant figure, an event known as the Hunger Games was set in stone. One boy and girl, between the ages of twelve and eighteen would be randomly selected to represent their district, as the twenty-four tributes were placed in a landscaped arena and forced to fight to the death. Katniss finds herself volunteering for the games in order to protect her younger sister Prim who was initially chosen in district twelve’s “reaping”. Now facing an almost certain death sentence, Katniss must fight to stay alive and return home to her sister where eternal glory awaits the victor of the games. This twisting plot is unpredictable to first time readers. It is nothing like anyone has written because of the story’s ability to attract not only its target audience of young adults and teenagers, but the older and younger audiences as well.

Ancient Sources

Where was Collins able to conjure up such a riveting story that would reach out to all ages? It’s simple: she used the classics. Stories like Plutarch’s Theseus was an inspiring source for Collins as a young writer. Theseus displayed bravery against all odds in Ancient Greece. Theseus was well known because of his fight with the Minotaur in the Labyrinth of Crete. Seven boys and seven girls were sent every nine years from Athens to be “sacrificed” to the Minotaur as punishment for the murder of Androgeous, eldest son to the King of Crete. With a sense of honor, Theseus volunteered for a position as a tribute. After killing the Minotaur, Theseus returned to Athens where his life continued.

Collins was able to use this idea of “tributes” and turn it into a contemporary piece of literature. Theseus and Katniss are both brave combatants’, Katniss’s role in the first book of The Hunger Games series is very similar to that of Theseus because of the arena and her ability to fight. In Rick Margolis’s interview with Suzanne Collins entitled “A Killer Story,” Collins explains, “In her own way, Katniss is a futuristic Theseus. But I didn’t want to do a labyrinth story, so I decided to write an updated version of the Roman gladiator games.” This interview illustrates how Collins pulls her concepts for The Hunger Games through classical pieces of literature and mythology, but she does not use only one classical source to generate the entire storyline.

The name given to the futuristic nation “Panem” is derived from the Latin phrase panem et circenses, which can be translated into English as “bread and circuses”. Thomas Martin wrote an article titled Bread and Circuses that discussed the concept of the term and how it is applied to government structures. Martin states, “A population so distracted with entertainment and personal pleasures no longer value the civic virtues and bow to civil authority with unquestioned obedience.” The Capitol city of Panem uses the Hunger Games as a means of personal pleasure as well as way to show the districts that they are in charge and are willing to sacrifice the innocent lives of children to show this. Demonstrating how even though the book is labeled as dystopian fiction, does not mean this type of corruption has never occurred in world history. Collins used the Roman Empire as a basis for her story. Showing how a government, a city, and a nation can be corrupted if all forms of virtue are thrown aside to only benefit the individual. The Capitol had become so indulged in the games, that the government structure became dependent on the games annual presence. Without the games, the Capitol had no way of separating itself from the peasants of the districts.

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The Hunger Games is a powerful tool used by the Capitol to maintain the obedience of the districts, but how? Even though the Capitol is outnumbered by the district populations, the usage of the Hunger Games has allowed them to maintain control of the nation for far too long. What the districts lack is hope. The games are a constant reminder that they are subject to a higher power. For readers who may not have seen The Hunger Games movie, it was directed in a way that captured more than just the first person narrative of Katniss and her feelings. There is a scene available to the public where Seneca Crane, who is the head Gamemaker of the Hunger Games and President Snow (the leader of Panem) meet in a garden and talk about “hope”. Snow states, “Hope is the only thing stronger than fear, a little hope is effective, a lot of hope is dangerous.” (http://www.youtube.com/watch?v=G7TOzHr6jXk). This scene shows how the Capitol is able to maintain control of the larger district population. A winner in the Hunger Games allows the districts to be filled with hope, but only temporarily. By controlling the morality status of the districts, the Capitol is able to maintain its power. Heroes and Heroines such as Katniss and Theseus bring a different element to the games they partake in, their ability to look past fear and corruption and fight for what is right. Over the course of the book, the reader will see that Katniss’s performance in the Games becomes much more important than what was even imaginable.

Modern Sources

The Hunger Games is displayed for all the citizens of Panem to see through a type of reality TV. Reality TV is a very recent style of television where people are placed in “real life” situations and it shows how people would act if a camera was not present. In “Reality Television Has Value”, author Michael Hirschorn discusses present day reality television. He brings up the show Survivor. The show consisted of men and women who would compete in challenges to stay on the show for as long as possible. At the same time, the contestants had to rely on survival instincts to provide their own shelter, food, and water supply. The last person on the show who wasn’t voted off by the other contestants would win a large sum of money and numerous other prizes. As in the Hunger Games arena, alliances and rivalries formed making the games even more entertaining for the Capitol spectators. This type of reality television brings out the real side of people. Showing how when someone’s life is at stake, people don’t act, they re-act to the given situation they are in. Collins used the show and its concept to generate the dramatic reality which became The Hunger Games.

The actor who played the role of Seneca Crane is Wes Bentley. In his interview with Clevver TV, Bentley talks about what captured his attention in terms of his interest doing a role in this movie. Bentley explains, “I was curious about the world of reality TV, and not only how it affects this book but the world now. I was also really surprised to find out just what it can do to your brain.” (http://www.youtube.com/watch?v=LeCbCjcKEls&feature=relmfu). Going back to the Capitol citizens, they crave entertainment like the Hunger Games because it is the most realistic form of television available to them. They see no reason for the games to be cancelled because they are so used to it, the principle of sacrificing tributes seems ordinary to them. When Bentley talks about the affect reality TV can have on the brain, he is talking about how people like the Capitol citizens; people who have been stimulated overtime to accept corruption and injustice within their society.

James Blasingame visited Suzanne Collins at the 2008 National Council of Teachers of English in San Antonio, Texas. Blasingame asked a few questions to Collins about the newly released Hunger Games book and her incorporation of popular culture including reality TV. Collins replied, “The sociopolitical overtones of The Hunger Games were intentionally created in order to characterize current and past world events, including the use of hunger as a weapon to control populations.” Again, we can see how Collins inspiration for this novel pulled from different sources both in the past and present. Using past ideas and sources to inspire a contemporary based novel that exceeded its purpose as a story for young adults.

The Hunger Games by Suzanne Collins transcends to a greater level of popularity compared to other popular series of the 21st century, including Twilight and Harry Potter, because it was able to attract readers beyond the ones Collins targeted initially. The use of current troubles in the world such as corrupt government and the never-ending struggle to end hunger are topics which affect all age categories. Providing a fictional, action-packed storyline allowed Collins to share valuable information about the current world’s condition with young adults, who are the world’s future leaders and workers. The use heroine figure (Katniss) to stand as a symbol of hope for the oppressed nation of Panem. This heroine style is similar to the classic stories of Spartacus and Theseus, both being sources which inspired Collins writing. The book is not overpowered by the classics and seems almost like contemporary fiction because of the use reality TV during the games. A combination of past and current story telling styles made The Hunger Games and the entire series one of a kind.


The Use of Children

Imagine living in a world where your childhood is exploited and used against you. Looking around, the dry, sunken faces of starvation flood the streets, where every move you make is watched. Even though every day is a struggle to survive, every year, from the time you are twelve to the day you turn eighteen, you are faced with the possibility of being forced into an arena to fight to the death against twenty-three other children your age. Throughout the novel The Hunger Games, by Suzanne Collins, children are used in a variety of ways. While the author uses children to evoke a particular emotional response and target her audience, the Capitol takes advantage of their youth, and uses it as a weapon of control.

The Hunger Games is the story of Katniss Everdeen, a young sixteen-year-old girl living in the future United States, the country of Panem. In this country, once a year each of the twelve districts must offer up one girl and one boy, between the ages of twelve and eighteen, to fight to the death in an arena of the Capitol’s creation until just one tribute remains. This year, Katniss must participate. She is swept off to the Capitol to be trained and interviewed with the boy tribute from her district, Peeta, before entering the Games. Hailing from District Twelve, the poorest in the country, Katniss has developed strong survival skills that she uses to her advantage to outlive her opponents in the arena until the Gamemakers announce that if the last two tributes standing come from the same district, both shall be named victors. Katniss immediately sets out to find Peeta. The pair then teams up and uses their romance to win over the audience and gain support from sponsors, who send them items to aid in their survival. Despite the obstacles they are faced with, Katniss and Peeta manage to outlast all of the other tributes and make it out of the arena alive.

For the people of this dystopian novel sustenance is never guaranteed. This novel takes place in the country of Panem where the Capitol in is complete control. The Capitol takes pride in its repulsive ability to manipulate the lives of the population by forcing them to work long, brutal hours for very little pay. The Capitol classifies its districts by restricting them to one specialized task. District Twelve’s main purpose of existence is to produce coal. When one reaches the age of eighteen, and is ineligible to participate in the Hunger Games, one is shoved into the dark, dangerous traps of the mines. However, once one makes it out of this deadly trap, there is little to show for it. “Men and women with hunched shoulders, swollen knuckles, many who have long since stopped trying to scrub the coal dust out of their broken nails, the lines of their sunken faces” walk the streets of the Seam (Collins, p4). No matter how hard the people of District Twelve work, there remains little to put on the table.

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In The Hunger Games, Suzanne Collins uses children to evoke sympathy from her readers. The protagonist, Katniss Everdeen, and the other tributes are children between the ages of twelve and eighteen. Most have been forced to go hungry for the majority of their lives and now, at such a young age, they are expected to fight to the death against other children like themselves. In Victorian literature, this use of hunger in children is called “pitiable hunger” (Lii). In her article “A History of Hunger”, Lii writes, “children display a pitiable hunger, for which readers can easily express sorrow and sympathy.” It is difficult for one to look into a starving child’s eyes and not want to act upon the injustice that has overcome them. By embedding hunger in such a young protagonist, Suzanne Collins is able to evoke a much stronger emotional response from her readers. Children are helpless to the circumstances they are born into, and, as they grow up many parts of their lives are out of their control. Suzanne Collins uses these children’s helplessness and youth to strengthen the reader’s negative response toward the corrupt society of Panem. It is the fact that these tributes are children that makes the Hunger Games as gruesome and twisted as they are.

The Capitol takes advantage of children, using them for its own control and entertainment. The Hunger Games were created as a result of District Thirteen’s revolt. Every year the Capitol holds these Games as a reminder of their complete control over the country of Panem. They take young helpless children and throw them in an arena against their will to aid in their demonstration of control. The entire country is forced to watch as its children kill each other. While families in the districts watch in horror, the Capitol watches with pleasure. The Gamemakers never fail to make these Games as interesting as possible. They insert obstacles in order to make the Games as action-packed as possible, and then sit back in their chairs to watch as if it’s a sporting event. The Capitol exploits the childhood of the people of Panem. The children of this country do not have the luxury of a carefree adolescence. The Capitol takes advantage of their helplessness and forces them to live in fear of the day their name may be chosen, and if they are these unfortunate children can do nothing more than try their best to make it out alive.

Even though the oppression that floods the country of Panem is a result of the Capitol’s corrupt system, it is the children who are expected to provide relief for their families. In “A Modest Proposal”, Jonathan Swift satirically proposes that the solution to hunger is to feed on children. With this system, couples can make “eight shillings sterling per annum by the sale of their children” to “contribute to the feeding” with which they can provide necessities for their family (Swift). In a very similar way, parents are forced to sell their children’s lives in order to put food on the table in Panem. Once they reach the age of twelve, children are allowed to enter their name once more to the reaping in exchange for “a meager year’s supply of grain and oil for one person” (Collins, p13). By entering their name, these children come one step closer to being forced to fight for their lives. The only way to guarantee sustenance for your family is to win the Hunger Games. The tribute that is named victor is provided with food and shelter for them and their family for life. It is up to the children to survive the most brutal game ever created to finally relieve their family of the worry of where they will get their next meal. While these young, helpless children have no control over the oppressive conditions they were born into, they are the only ones who provide hope for their families that one-day life may be easier.

Suzanne Collins also uses children to bring to light current issues to young readers. Collins uses a young protagonist to attract a younger audience. Young readers can better relate to the young romance between Katniss and Peeta, and Katniss’s struggle to find her true feelings towards Gale. Using a teenager Collins is able to gain the interest of young adults and bring to their attention current situations that they otherwise wouldn’t have pondered. In an interview with James Blasingame, Collins speaks about her use of “social and political commentary” saying, “The sociopolitical overtones of The Hunger Games were very intentionally created to characterize current and past world events” (Blasingame). Collins opens the eyes of young readers to the world around them, causing them to compare Panem with our current society. Young adults are the future of our country and therefore should be very aware of our past and current systems. It is only children who can prevent the repeat of history and change the direction our country is headed.

It is clear that children are used in a wide range throughout The Hunger Games. Whether they are inserted for emotional appeal or to aid in entertainment, their youth is favorable in every case. Suzanne Collins takes advantage of the opportunities that a young protagonist provides, and uses Katniss to effectively communicate the greater message she wants to convey. The people of Panem have many obstacles to overcome. The control of the Capitol weighs heavily upon them while they struggle to maintain sustenance. Suzanne Collins uses this society to reference our own. In his article “America’s Hungry Children”, John DiIulio addresses the issue of hunger in the United States saying, “Worse, severe and recurrent food deprivation, or what the U.S.D.A. terms ‘food insecurity with hunger,’ has been growing at an alarming rate among the young. Between 2006 and 2008 the number of children in that category more than doubled from about 430,000 to 1,077,000” (DiIulio). Statistics such as this may cause one to ponder what is worsening this issue in our society today. How much control does the government have over our resources? If the future leaders of our country are facing greater suffering, where is our country headed?


Character Development

*Spoiler alert: This section contains information from all three Hunger Games books.*

Imagine yourself a teenager, placed into an arena with twenty-three other peers, knowing that only one of you will come out alive. You are forced into this extreme environment, given nothing for protection or for survival. This is what Katniss Everdeen must do in The Hunger Games series, a set of novels written by Suzanne Collins. She must overcome many obstacles throughout the three books: The Hunger Games, Catching Fire, and Mockingjay. The predominant Capitol of the future country Panem created the Hunger Games after a rebellion by the thirteen districts of the country. The thirteenth district was destroyed, and now the Hunger Games remind families that the Capitol is all-powerful. Two children from each district, between the ages of twelve and eighteen, are picked to participate in the vicious Games each year. Katniss volunteers to go into the arena after her sister, Prim, is picked in the first novel, The Hunger Games, which has recently been made into a movie. Peeta, the other tribute from District Twelve, and Katniss must then be styled, fed, and interviewed before they are put into the arena to fight to the death with the other tributes, some of whom have been training all of their lives for this (Collins). As a result of the many processes that the tributes must endure, as well as being placed into the arena, there is great personal development in many of the characters in this novel.

Katniss

Characters' personal development appears many times throughout The Hunger Games series. Multiple characters such as Katniss, Peeta, and Haymitch all develop throughout these novels, becoming more complex and thought provoking. Katniss, at the beginning of the series, volunteers helplessly to save her sister, but throughout the first novel, finds a greater purpose from her time in the arena. She learns to care for Rue, an innocent twelve-year-old girl from District Eleven that reminds Katniss of Prim. Katniss feeds Rue, and gives her a proper burial, as well as helps Peeta, tending to his sword wound and then, ultimately, showing her willingness to sacrifice herself to save him (Collins). In the second novel, Catching Fire, she must endure participating in the brutal Hunger Games a second time, strategizing once again to survive. She must ally herself with tributes from other districts, challenging her natural instinct to not trust anyone (Collins). Ultimately, she finds herself being the symbol of rebellion in the third novel, Mockingjay. She learns that District Thirteen was never destroyed; they have been surviving underground, planning a rebellion once again against the Capitol. Katniss must struggle with trying to balance the stress of rebelling, along with trying to decide whom she cares about (Collins). Over the course of the three novels, Katniss changes drastically.

Not only does Katniss change during the Games, but she is forced to mature after her father devastatingly dies in a mining accident and she must learn to provide for her family in order to keep it fed. Hunger is one of the main themes of this series and District Twelve is among the hungriest districts in the country along with District Eleven, simply because they are farthest away from the Capitol (Collins). Hunger can also define the characteristics of a person. In the article, “Food and Famine in Victorian Literature,” Theresa Lii discusses pitiable hunger, as well as threatening hunger <http://www.victorianweb.org/science/health/hunger.html>. Lii theorizes that women and children most often occupy the pitiable hunger, while men are more likely to occupy threatening hunger (Lii). When Katniss is a young child, she can easily be considered pitiable, as her father provides for the family and she does not have enough knowledge to provide for herself. However, after he dies, she must learn to hunt and gather, becoming more threatening. At the point when the first novel starts, she is regularly catching game for her family, saying, “even though trespassing in the woods is illegal and poaching carries the severest of penalties, more people would risk it if they had weapons” (Collins 5). She is confident with her bow and arrows and is very successful when she sets her mind to it.

Katniss is very protective over Prim in all three of the books. She is constantly worrying about her sister and making sure that Prim is cared for. The amount of emotional strain forces Katniss to mature in order to be the one to provide for Prim. When Prim’s name gets picked in the reaping, Katniss immediately steps up and takes her place to make sure that she does not lose her beloved sister (Collins). Many years ago, Jonathan Swift wrote “A Modest Proposal”, a satirical essay meant to criticize Ireland’s government during a potato famine. Swift proposes the idea of families selling their children for others to eat. These families must raise their children to be plump, and Swift argues that it will make families in Ireland stronger. In The Hunger Games, families are also forced to give up their children, knowing that they will most likely never see them again. In both cases, the citizens of the country must sacrifice someone that they love. The amount of emotional strain that this causes is tremendous and causes people to realize how much they care about those around them.

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Peeta

Katniss is not the only character that develops during this series; Peeta also becomes a much more complex character. Peeta begins the series as a shy baker’s son, but after being chosen as tribute in the reaping, he quickly becomes a caring, compelling character. He helps Katniss in whatever way he can multiple times such as confessing his true feelings for her during his interview, and then teaming up with the Career tributes to ensure that she does not get caught. At the end of the first novel, he too is willing to die when it is announced that two tributes cannot win (Collins). Even in the second novel, when he devastatingly discovers that Katniss was just pretending to care about him that way, he still wants to help her survive. He is constantly thinking of ways to give her an advantage (Collins). In the third novel, even when he is “trained” to kill her, he resists and does his best to make her happy (Collins). During this series, he becomes a captivating character that readers can truly trust.

Many of the citizens of District Twelve are very poor, and part of the working class. Peeta is better off than many of the people in his district, but not by much. In the article, “The Dispossessed,” William Deresiewicz thoughtfully discusses how he believes the middle class has disappeared, leaving only upper and lower classes. He writes, “but by the same token, working-class life breeds its own virtues: loyalty, community, stoicism, humility, and even tolerance” (Deresiewicz 79). Peeta, having worked with his parents for his whole life in the bakery, possesses many of these qualities. By being born into a poor district, he is very humble. When Katniss even attempts to praise him in any way, he deflects it, giving her a compliment instead (Collins 88-91). He is also very loyal, sticking with Katniss throughout the series, never saying bad things about her.

When the first novel of the series was made into a movie, Josh Hutcherson was cast as Peeta. Josh felt as if he really connected to Peeta, saying, “I never really read a character before that I connected with more than Peeta,” (Josh Hutcherson). Now, with there being a movie on the novel, the story becomes even more alive to readers. This only enhances the effect that the novel has on its many fans, as they are able to see the main plot points and details played out for them on screen. Josh, feeling as if he connected with Peeta, made Peeta’s character even more believable. He gave a certain depth to Peeta that readers did not get while reading the novel. <http://www.accesshollywood.com/the-hunger-games/hunger-games-star-josh-hutcherson-on-his-connection-to-peeta-and-when-catching-fire-stars-filming_article_61818>

Haymitch

A third character in this series that seemed to really develop was Haymitch Abernathy. Readers are introduced to Haymitch as a drunk that mentors the tributes from District Twelve each year. When he was younger, he won the Hunger Games, and now, because he, unfortunately, is the only living victor from his district, it is his responsibility to help the new tributes get sponsors and potentially win. He is one of the only wealthy citizens of District Twelve, as the winner of the Games each year gets food and other prizes such as a house in a separate part of the district. At the beginning of the novel he does not care much about helping Peeta or Katniss, but when he sees that they have potential, he commits to helping them. With their cooperation, he is able to help them win in the first of the novels (Collins). In the second book, he again mentors Peeta and Katniss in their second time in the arena (Collins). By the third novel, he is one of the people that Katniss truly cares about, and supports her throughout the rebellion (Collins).

The effects of watching so many of his tributes die in the Games took a heavy toll on Haymitch. He resorted to drinking to help dull the pain, causing him to be an almost permanent drunk. During the reaping, Katniss thinks, “his breath reeks of liquor and it’s been a long time since he’s bathed” (Collins 24). This can be compared to the effects that would happen to the families of Ireland in Swifts’, “A Modest Proposal”. The families would go through severe mental and emotional damage having to repeatedly watch their children die, just as Haymitch has. He seems to become more responsible and accountable after meeting Katniss and Peeta, but he still chooses to continuously drink.

Like Peeta, Haymitch possesses some of the qualities that Deresiewicz talks about in “The Dispossessed”. He becomes very loyal to both Katniss and Peeta. He does what he can to help them survive, giving soup, medicine, and more throughout the Games in the first novel (Collins). He also becomes increasingly tolerant over his life. After watching so many of his tributes die in the arena, he learns to cope, even if it is with alcohol. He also becomes more tolerant of Katniss as he learns more about her personality. At the beginning of the series, he and Katniss have many issues, but as it progresses, Haymitch and her get along much better.

After imagining yourself being in all of these unique, individual situations, it would be very difficult to not expect to change in some ways. A person cannot go through all of the taxing, horrible scenarios that the mentioned characters went through without developing at least a small amount. For the most part, the changes make the characters more mature, thoughtful, and responsible, but they can also have a negative effect, as it did on Haymitch’s drinking. Regardless of affecting the characters negatively or positively, development occurs in every character in at least a small way.


The Hunger Games as Dystopian Science Fiction

Imagine living in a world far in the future. America would no longer be America. It would be a futurized nation of sorts. The government would not be as we now know it. It may not even be a democracy. The laws we live by would be deemed completely irrelevant. Every single aspect of life would be drastically different, from the way we act while at work or school to the way we act in the privacy of our own homes. This is the setting for dystopian science fiction, which typically takes place far in the future. The author uses this unfamiliar setting and creates a corrupt society or government to reveal what they believe is wrong in the present-day world.

In Suzanne Collins’ The Hunger Games, this is the type of world the main character, 16-year-old Katniss Everdeen, lives in. The story takes place in the future in what is known as the nation of Panem, formerly North America. Panem is split into 12 districts and the extremely wealthy and powerful Capitol. After a violent revolt, the Capitol implements an annual event called the Hunger Games, in order to show the citizens that they have absolute control over all citizens. Each district must randomly select 2 tributes, one boy and one girl, to participate in the Hunger Games. The 24 tributes, all children, enter an arena and fight to death until only one tribute remains. The district of the winning tribute receives an abundance of food as a prize, while the tribute receives fame, glory, and wealth. After volunteering to take her younger sister’s place in the Hunger Games, Katniss enters the arena and does everything in her power to survive imminent death. Suzanne Collins’ use of the setting, the characters, the corrupt government, and the underlying message of oppressed, hungry citizens allows one to classify The Hunger Games as a dystopian science fiction novel.

The Hunger Games takes place far in the future. Though the exact year or century is not mentioned, the reader knows it is in the future because it is said that the world has seen the demise of North America. In its place, Panem has risen. The reader also knows the novel takes place in the future due to the technology Katniss encounters while staying at the Capitol, prior to entering the arena for the Games. District 12, where Katniss lives, seems to have regressed, but this only adds to the futuristic element of the novel. The government and technology in the Capitol have progressed so much that it has caused other areas of Panem to fall behind, since the Capitol holds all the power and wealth of the entire nation. Collins’ purpose in setting up the story this way is to show readers that Panem is reflective of America today. In his essay discussing dystopian fiction, Joseph Campbell says that the point of dystopian fiction is to allow the reader to realize and understand “contemporary social situations,” so they know what could potentially happen in the future (Campbell 41). Because Panem is Collins’ version of what America may turn into if it continues to progress the way it currently is, the reader can make several similarities between Panem and America.

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A central part of the novel deals with food and hunger, a serious, though often overlooked, problem in America today. Millions of people remain hungry day after day, because they are so poor that they cannot even afford food to feed themselves or their children, who need the nutrition more than anyone. According to The Millennium Declaration to End Hunger in America, “thirty million people experienced hunger or food insecurity” in 2001. Though the government does not try to cover up this problem, as the Capitol does in The Hunger Games, the government also does not address it frequently enough to make citizens aware of what a widespread problem it truly is. When speaking of this similarity in an interview, Collins said, “The sociopolitical overtones of The Hunger Games were very intentionally created to characterize current and past world events, including the use of hunger as a weapon to control populations” (Blasingame). In her novel, Collins is addressing the issue of hunger to bring awareness to it. Her message serves as a warning to readers that if the problem of hunger continues to grow the way it is, without much help or prevention, it could turn into a problem as severe as the one in The Hunger Games. Instead of being viewed as a national problem, it may come to be viewed as something that the government can use to keep all citizens at their mercy. The reason why the Hunger Games are called so is because the prize is food. While 11 districts remain hungry, aside from the wealthy Districts 1 and 2, the winning district receives an abundance of food. At one point Katniss says, "Starvation’s not an uncommon fate in District 12. Who hasn’t seen the victims? Older people who can’t work. Children from a family with too many to feed…And one day, you come upon them sitting motionless against a wall or lying in the Meadow…Peacekeepers are called in to retrieve the body. Starvation is never the cause of death officially. It’s always the flu, or exposure, or pneumonia. But that fools no one" (Collins 28).

Because of how impoverished some districts are, hunger is so severe that it regularly causes death. However, noting is being done to remedy the situation. The Capitol uses a group of people called Peacekeepers to cover up reality. As Katniss says, starvation is so prevalent in the poor districts of Panem that it is not seen as anything unusual or alarming. Everyone from the government to the citizens views it as the norm.

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Government and social class is another issue Collins’ bring up in The Hunger Games. When comparing America and Panem in an article, John Green states that the story, “allows us to see the similarities between Katniss’s world and ours. American luxury, after all, depends on someone else’s poverty” (Scary New World). In both Panem and America there are a small percentage of people who receive and control much of the wealth of the entire nation. In Panem it is the Capitol, while in America it is the “1%” that is often referred to in protests, such as the Occupy Movement. Just as luxury in America “depends on someone else’s poverty,” the Capitol’s wealth in The Hunger Games depends on the rest of the nation’s labor, sacrifices, and, for many citizens like Katniss, poverty. Each district in Panem has a particular “job.” One district is in charge of fishing, while another is in charge of agriculture. District 12 is in charge of coal mining, a job often associated with very poor people. Therefore, District 12 is the most impoverished district in Panem. The work the coal miners do solely benefits the Capitol, while providing very meager, if any, rewards for the workers and their families. While in the arena, Katniss meets a girl from District 11, Rue. When describing how life is in District 11 Rue says, “‘…we’re not allowed to eat the crops…They whip you and make everyone else watch. The mayor’s very strict about it” (Collins 202). Just like in District 12, in District 11 and all the other districts, all work is done for the Capitol. This is what makes the Capitol so wealthy and powerful.

In America, the situation is quite similar. The small percentage of people who receive most of the nation’s wealth only have it due to the working class. The upper class benefits from the working class, just as the Capitol benefits from the districts. Though those in the working class should receive benefits for all the hard work they do, they actually do not. In fact, many members of the working class struggle to make ends meet. Once again, Collins’ purpose in creating such an unjust social system in The Hunger Games is to show the reader that America has the potential to one day be just like Panem, since America today is actually not far off from Panem in terms of the social system.

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One of the main aspects of The Hunger Games that allows one to classify it as dystopian science fiction is that the story contains a heroine. Dystopian science fiction tends to contain a protagonist who disagrees with the government, social system, or society. In The Hunger Games, this character is Katniss. At the beginning of the novel she says, “When I was younger, I scared my mother to death, the things I would blurt out about District 12, about the people who rule our country, Panem, from the far-off city called the Capitol” (Collins 6). Raised in the poorest district of Panem, Katniss has always disagreed with the way things are run. Katniss’ upbringing and opinions make her relatable to the readers. She is just a typical citizen in Panem. However, Collins implies that Katniss is going to cause some kind of drastic change in how things are run by the government. The reader can see this towards the end of the novel when Katniss prepares to commit suicide with Peeta, an action that the government prevents as it will create of mockery of them (345). Though not all dystopian fiction ends in some kind of revolt that fixes the corrupt society, it always contains a protagonist that the readers can relate to. Katniss’ role in The Hunger Games allows the readers to more easily see how similar present-day America is to Panem.

Dystopian fiction serves as a warning to the readers. The stories present an unfamiliar world that reflects the issues we face and are living through today. The power to relate fiction to reality and take action to make a difference is the power that dystopian fiction presents to its readers. In The Hunger Games, the reader can gather that Suzanne Collins wants to make the reader aware of important problems existing in America today that have the potential to descend into the twisted and corrupt issues in Panem. By reading the novel and becoming more aware of problems like hunger in America, adolescents who will grow to become the future of the country have the power to try to slowly fix the problems.


More Dystopian Elements in The Hunger Games

In the words of renowned author Stephen King, “The Hunger Games is a violent, jarring speed-rap of a novel that generates nearly constant suspense” (King). This high praise from an esteemed figure in literature only alludes to the fact that The Hunger Games lives up to all its recent hype. With each page turned of the gruesome futuristic novel, where its dystopian roots play an enormous role in the story, readers are engrossed in the story of Panem, a nation of 12 outlying districts corrupted by a power-hungry Capitol. Since its publication in 2008, the novel, along with its trilogy, has earned worldwide attention and are now held in the highest regard for young-adult literature. The premise of the novel is simple: twenty-four children, a girl and boy from each district, are placed into a synthetic, Capitol-controlled arena and forced to kill one another until the last one survives. The entire bloodbath is then glamorized, edited with bias in the Capitol, and broadcast live for all the districts to watch – as if they had a choice. The simplicity of the concept engages the viewers in the Capitol, as they see the sadistic Olympic Games as pure sport and entertainment; viewers in the Districts, however, are not so content. While the concept of The Hunger Games is a bit simple and straightforward, Suzanne Collins’ ability to deepen its context by addressing its dystopian elements and effectively paying attention to minor details is what makes The Hunger Games so difficult to put down.

The novel itself is told in first-person narrative from Collins’ beautifully-constructed protagonist Katniss Everdeen, the rough-around-the-edges sixteen-year-old who’s been forced to grow up too quickly in the wake of her father’s death. In doing so, she’s assumed the role of mother for her younger sister, Primrose, a fate Katniss is glad to accept as she’s always put her sister’s needs before her own. It comes as no surprise that when little Prim’s name is called at the Reaping to partake in the annual Hunger Games, Katniss immediately volunteers to take her place and certainly save her life. She’s paired with District 12’s male tribute Peeta Mellark, who happens to have feelings for her, subsequently setting up the most star-crossed of love triangles. The two are shipped to the Capitol, where they are altered and prepped for grand entrances, tribute interviews, and every other ridiculous spectacle the Capitol can create before the tributes enter the arena.

With the knowledge that cameras are watching her every move, Katniss enters the bloodbath of the Games and, unbeknownst to her, becomes the tribute to beat. Her instinctive survival skills instilled in her by both her father and her passion for hunting contribute to her success in the arena as she and Peeta pair up to be the first tributes to ever be presented as a true team. Katniss, however, is oblivious to the fact that Peeta’s every move is for her. The Games end in a sadistic yet typical Capitol move, as the Gamemakers first taunt the tributes by saying that two can win, but when Katniss and Peeta are the last two standing, the Gamemakers go back on their word, forcing either Katniss or Peeta to die. Katniss, stubborn and strong-willed, convinces Peeta to commit suicide with her in a ploy to prove that the Capitol doesn’t own her every move. The Gamemakers change their minds and both tributes are pronounced victors, but Katniss knows all too well that in doing so, she’s become their next target – perhaps a fate worse than death in Panem.

Connection Between Future and Present Societies

The entire premise of The Hunger Games relies heavily on the fact that its setting is a futuristic society. Collins creates an eerie connection between American and Panem societies: both are in North America, providing a minor yet ominous hint that the connection really isn’t a coincidence, but rather a warning. In the article “Dystopian Science Fiction,” the author states, “…dystopian fiction tends to have a strong satirical dimension that is designed to warn against the possible consequences of certain tendencies in the real world of the present” (“Dystopian Science Fiction”). This broadened generalization of dystopian literature fits like a puzzle piece into so many pages of The Hunger Games. Immediately readers grasp the corruption and totalitarianism of the government in Panem, but these themes aren’t absent from today’s society, either. All around the world and specifically in developing nations, there are political struggles with overbearing leaders oppressing their inferior population, a fact Suzanne Collins was sure to make note of when creating Panem. The materialisms that the people in the Capitol are so passionate about aren’t far off from what we as Americans love to indulge in, either: our fancy technology, our intricate meals, our top-of-the-line transportation. A specific moment of correlation between the Capitol and modern society comes in the form of Katniss’s physical transformation upon arriving in the Capitol. Complaining about how long it took, she states, “This has included scrubbing down my body with a gritty foam that has removed not only dirt but at least three layers of skin, turning my nails into uniform shapes, and primarily, ridding my body of hair” (Collins 61). It’s no coincidence that these things are all a measure of relaxation and beauty in today’s materialistic society, but the twisted way of “prepping” Katniss for death is what makes this concept the perfect example a strikingly cruel dystopia.

Dehumanized and Fearful Lifestyle

In her article titled "Dystopian Literature and Society," author Emily Hopkins addresses another crucial theme of dystopian literature presented in The Hunger Games. She writes, “Dystopia … is defined by an imaginary place where people lead dehumanized and often fearful lives” (Hopkins). The connection to Collins’ brutal and animalistic novel almost leaps off the page here as there is arguably nothing more dehumanized than the entire concept of the Hunger Games. The entire nation of Panem is desensitized to the brutality of murder, perhaps the most atrocious act mankind is capable of, because they watch it every year as a national event. The children are exposed to this gruesome mentality at the ripe age of twelve when their names are forced into the lottery that is the Reaping. Once in the arena, the more a tribute kills, the larger their chance for survival, which sends the message that to kill is to win. Any society that rewards children for this behavior is anything but on the right path. What’s worse, however, is the sickening way that the people of the Capitol embrace this monstrosity. When initially assessing the first people she meets there, Katniss remarks, “What do they do all day, these people in the Capitol, besides decorating their bodies and waiting around for a new shipment of tributes to roll in and die for their entertainment?” (Collins 65). This blunt yet almost innocent observation from Katniss in her initial moments in the Capitol perfectly summarizes the shallowness that regards the sadism and bloodshed as pure sport.

Economic Control

However even minor details in The Hunger Games are strikingly dystopian as Collins sews them into almost every page in creating the picture-perfect dystopian society of Panem. Jessica Smith also presents a dystopian theme that plays a role in life within the confinements of District 12 in her course outline titled "Dystopian Literature: From Fiction to Fact: A Course for Adult Education Programs". She talks about how the state in a dystopian society is in charge of the economy, which sets up the opportunity for black markets to flourish as they sell “items banned or seen as contraband” (Smith 22). Although a minor detail, Collins’ implementation of the Hob, the black market in District 12 where Katniss and her hunting partner Gale Hawthorne often sold the game they illegally hunted outside the fence, demonstrates this perfectly. Although the existence of the Hob on its own classifies into this theme of dystopia, it creates an even further example of the governmental corruption in Panem. Even the Peacekeepers, the patrolling officers from the Capitol placed in every district to suppress any potential uprisings, benefit from the Hob, though it was common knowledge that her hunting was illegal. Katniss bluntly states, “The baker enjoyed squirrel but he would only trade for one if his wife wasn’t around. The Head Peacekeeper loved wild turkey. And the mayor had a passion for strawberries” (Collins 52). This turn-the-other-cheek attitude by the highest officials in Panem strengthens the already-present corruption stitched into every branch of their government.

The basic elements of dystopian society are entirely what lay the foundation for the success of Suzanne Collins’ The Hunger Games. Undoubtedly the parallels to American society are meant to send a shockwave of a warning to every reader, saying that if we don’t fix our society now, we could end up with something as appalling as the Games themselves. What if America became Panem? What would happen if we lived every day in fear of what the government might do to us? What if our only method of survival was to kill? It’s ironic that these hypothetical thoughts seem so barbaric, and yet the novel itself is set in the future. Perhaps Collins has this time warp meticulously planned out as an ominous repetition of the same old adage: history always repeats itself.


Technology Used in The Hunger Games

Have you ever wondered what really separates our world today form the world back in the Stone Age and what will separate our world today from the future world? The answer is technology and science. It is the cutting-edge technology and scientific discoveries that leap our world forward. The influence of technology and science can be very powerful: not only can they solve seemingly impossible problems, but they also can create seemingly impossible solutions. A great example of this can be found in Suzanne Collins’s The Hunger Games. The technologies described in The Hunger Games are really fascinating and breathtaking! The most spectacular piece of technology used in The Hunger Games is the design arena; this is the place where the game-makers can alter the settings such as adding or removing obstacles during the games just by a press of a finger!

The Hunger Games is about a futuristic ruin and corrupt nation of Panem. Panem contains a rich Capitol surrounded by twelve outlying districts. Each year the Capitol chooses one courageous young boy and girl between the age of twelve and eighteen, known as tributes, to participate in the annual Hunger Games. The twenty-four tributes are sent to the arena where they will fight to the death with each other. The last one standing wins the game and the winner gets food and fame. Katniss Everdeen, the main character, is also the narrator of the story. The Hunger Games mainly targets young adult audiences because everything in the story is told by Katniss, a sixteen year old teenager, in a chronological order along with some flashback memories.

Design of Arena

As mentioned earlier, the design of the arena is really breathtaking. The sky in the arena is actually another enormous screen where the game-makers show the images of dead tributes. The Game-makers of the Hunger Games controlled everything in a special room in the Capitol called the control room. This is the place where if the game-makers decide to add a falling tree to the arena, they just have to press a button on a screen. Their power goes beyond just adding or removing obstacles, for example the Game-makers can also alter the weather, amount of daylight, as well as amount of water in the arena. Whatever the audiences in the Capitol wishe to see in the arena, the Game-makers can make their wishes come true.

Control Room

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In the film version of The Hunger Games, the control room itself is full of advanced technologies. The computers that the game-makers use are no ordinary computers. They can portray the images created in either 2D or 3D and expand to any size they want. All obstacles that Katniss Everdeen meets in the arena, such as the fire storm and the mutations are all created by the game-makers in the control room. In The Hunger Games movies, the filmmakers use a technology system called Hybride to develop the control room. Hybride is a really advanced technology that we have today and is commonly used in sci-fi movie productions such as Spy Kids. According to the article “Immersed in Movies: 'The Hunger Games' Futuristic Control Room,” Bill Desowitz states that the Hybride technology “used a combination of 3D and 2D and turned the main hologram into a 3D model that represents the arena; then using the mesh from that in Flame they created some 2.5D effects. The concept is that the graphics are made up of data that's organic and alive, which then comes alive in the arena in the form of the fire or the mutts” (Desowitz, 2012). This technology only allows the movie viewers to see the effects; the people in the control room cannot see all the images they created. However, in Panem, Game-makers can see exactly what they are making. The technology used in developing the control room goes beyond what is described in The Hunger Games novel!

High-Speed Train

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After all the tributes have been chosen to participate in the deadly face-off of Hunger Games, they ride the train to the Capitol. The train that these tributes ride in is not a dull, slow train but a fancy, super-speedy train. In The Hunger Games novel, Katniss states that “The speed initially takes my breath away” as the train takes her to the Capitol (p.41). The train that tributes ride in is a special Capitol high-speed model that average about 250 miles per hour! However, high-speed rail is not fiction; it is actually real in Japan. Japanese has been enjoying their 186 miles per hour rail system, known as Shinkansen, or Bullet Train, since 1986 (NRi, 2011). However, to this day we still have not yet develop a train that can average up to about 250 miles per hour. The 250 miles per hour train provided by the Capitol in Panem sure is an excellent piece of improvement from the present day Bullet Train.

Tracking Device

Right before the twenty-four tributes are released into the arena, each of them is given a shot in the arm. The needle inserts the tracking device deep under the skin of each tribute’s forearms. This is a way for the game-makers to keep track of where all the tributes are in the arena at all times. The closest technology to the human tracking device in The Hunger Games that we have today is the GPS. GPS is only used to track where things are located on Earth, not humans. We have benefited greatly from the use that technology and since the development of GPS, the popularity of the paper maps has gone down severely. The Hunger Games is about a futuristic country, far beyond our imaginations, so maybe in the future we could potentially be able to invent a human tracking device just like the one used in the novel.

Advanced Medicines

As Katniss arrives at the Capitol, the first thing she notices is that the people living in the Capitol are so different from people living in the districts. She realizes that “they do surgery in the Capitol, to make people appear younger and thinner” (p.124). This is why she does not see any old people in the Capitol at all. However, according to Kanitss, “in District 12, looking old is something of an achievement since so many people die early. You see an elderly person, you want to congratulate them on their longevity, ask the secret of survival. A plump person is envied because they aren't scraping by like the majority of us. But here it is different. Wrinkles aren't desirable. A round belly isn't a sign of success” (p. 124-125). The type of surgery that they do in the Capitol is similar to plastic surgery that we have in today’s world. However, the surgery and medications in the capitol can revive a person completely without leaving any sign of former injuries. For example, in The Hunger Games, Katniss and Peeta, another protagonist of the story, come out heavily wounded due to several weeks of fighting others and mutations in the arena. But after spending a night at the hospital in the Capitol, all of their scars are completely gone, no matter if the scar is from a sword or fire! This is just like rebirth of humanity because no matter how severe your injuries are, even if it is so severe that the person might die, the Capitol has the medicines to make you survive and live on. We have similar remedies in the today’s world, but they are just not yet as advanced as the ones in the Capitol.

Synthetic Fire

Those of you who have read The Hunger Games know that Katniss is also known as The Girl On Fire. This nick-name comes to Katniss all because of the invention of synthetic fire. Tributes from each district are to dress in something that represents their own district during the parade. The parade is an opening ceremony before the training for the Hunger Games start. Since district twelve is a mining district, Cinna, Katniss’ stylist, decides to dress both Katniss and Peeta in “simple unitard that covers [them] from ankle to neck [and] shiny leather boots lace up to [their] knees” (p. 67). Then he plans “to light them on fire just before [their] chariot rolls into the streets” (p.67). As district twelve’s chariot rolls in, the entire crowd starts to scream in surprise because behind Katniss and Peeta there’s the synthetic fire the Cinna created. The use of synthetic fire makes the two tributes from district twelve really special. We also have synthetic fire in today’s world, like the ones we use in living room fireplace heater. However, what we have today is synthetic fire in heaters, not on clothing. Also, the producer of the film has to use special effects to allow the audiences see the fire, but in the Capitol, no special effects were used to make the costumes on synthetic fire.

Fancy Food

Lastly, according to The Hunger Games novel, in the Capitol food can appear just by a “press of a button” (p. 64). When Cinna invites Katniss to sit across from him in a leather couch, Cinna “presses a button on the side of the table. The top splits and from below raises a second tabletop that holds [their] lunch. Chicken and chunks of oranges cooked in a creamy sauce laid on a bed of pearly white grain, tiny green peas and onions, rolls shaped like flower, and for dessert, a pudding the color of honey” (p. 64-65). This really surprises Katniss. She never saw any food like that before; it’s like she’s living in a paradise at the moment. The press of button technology also makes her wonder what her life would be if back in district twelve she could also just press a button and food appear. This is similar to our vending machines. However, we have to pay in order to get the foods and the foods that we get are mainly snacks and drinks, not a table full of food. This suggests that Panem is so much advanced in producing food than we are in today’s world.

One of the main elements that separate the district people from the Capitol people is advanced technology. The Capitol has all the technology that can make their people live their lives as if they are in paradise. With all the cutting-edge technologies, solutions can be created to solve all seemingly impossible problems and improve the society. These advanced technologies are what separate the districts from the Capitol, but they also divide between past and present, present and future. Without technology, Katniss’s world would be virtually no different from Capitol’s world.

[[bibliography]]
1) Collins, Suzanne. The Hunger Games. New York: Scholastic INC. 2008.
2) GeekSugar. “Real or Not Real: Technology From The Hunger Games.” Sugar Inc, 2012. (access date 4/10/12). http://www.geeksugar.com/Technology-Used-Hunger-Games-22295006?slide=0
3) Desowitz, Bill. “Immersed in Movies: 'The Hunger Games' Futuristic Control Room.” Developed By Perfect Sense Digital. 2012. (access date 4/10/12). http://blogs.indiewire.com/thompsononhollywood/going-deeper-into-the-control-room-for-the-hunger-games?offset=1
4) Shinkansen, Japan. Net Resource International, 2011. (access date 4/10/12). http://www.railway-technology.com/projects/shinkansen/

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The Theme of Masks

The central themes of masks or deception and manipulation have permeated all of dystopian fiction. However, what exactly does it mean?

The “mask” is a term coined by influential psychodynamic psychologist Carl Jung. He describes how the word personality comes from the Latin word for mask. Jung describes he concept of the “mask” as, “a kind of mask, designed on the one hand to make a definite impression upon others, and on the other to conceal the true nature of the individual.” Furthermore, Jung describes two critical sides to the “mask.” On one hand, the “mask” allow people to create what is known as “the good impression.” On the other hand, the “mask” also forms the foundation for “the false impression”, in which people manipulate and deceive one another. Simple, the figurative “mask” for most cases in dystopian literature is literally covering something up, hiding the true nature of a person/s, place, or even situation. In Suzanne Collin’s, The Hunger Games, the theme of “masks” is continually introduced.

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“Masks” in The Hunger Games

Reality TV

Today, “15 of the 20 highest-rated TV programs among the younger adult group were reality or unscripted shows” (nytimes.com). There is no doubt that reality TV is on the rise. Suzanne Collin’s exposes the deceptive nature of the rising reality TV era throughout the hunger Games. According to Collins, reality TV is coming to life. It psychologically affects and shapes the viewers, which resembles how they behave in the real world. Similarly, Collins portrays the Career tributes, “In some districts, in which winning the reaping is such a great honor, people [Career tributes] are eager to risk their lives” (Collins 22). Some of these Careers have trained their whole lives for the opportunity to participate just based on what they have observed on TV. Simply, the “mask” that covers the true reality of the hunger games persuades some to aspire towards “half” of the truth. The “mask” of reality TV influences and manipulates the way some people wish to lead their lives.

According to Wolcott’s article, “I’m a Culture Critic … Get me out of Here,” he describes those that are so eager to participate in reality programs are a result of, “economic exploitation and psychological manipulation” (Wolcott 3). Similarly, this parallels how Collins portrays the Capitol’s games are a cheap and manipulative way to provide entertainment to Panem. Continuing, not only is this form of entertainment cheap, but also nearly every character, “conforms to [a] crude stereotype” (Wolcott 3). The TV network continually edits the scenes and manipulates the story being told to the public—“masking” certain information from the general population. In addition, Katniss, during the closing ceremony, thinks to herself, “Whoever puts together the highlights has to choose what sort of story to tell. This year, for the first time, they tell a love story” (Collins 362). Not only is the idea of a love story stereotypical, but also the Capitol manipulates the harsh reality of the games to appeal to the audience—adding to the deceptive and “masking” nature of reality TV.

The Arena Moon

Katniss’ contemplation over the full moon in chapter 23 is very intriguing. Katniss realizes that the arena—Including the Capitol—is so deceptive in their nature. It is hard to distinguish between reality and fabrication. In this case, the moon symbolizes Katniss’ increasing desire to uncover the truth—the truth between her, Gale, and Peeta, the truth about the Capitol, the truth about what her life will be like if she is the victor, and the truth about herself. She is searching for the truth in a place filled with deceit and lies. People spend their whole lives searching for the truth—uncovering “mask” after “mask” after “mask.”

Location of Capitol/ The Districts

The Capitol’s location hints at the their deceptive nature towards the surrounding districts. The Capitol is hidden or “masked” from the rest of the districts by a mountain. “The mountains form a natural barrier between the Capitol and the…districts” (Collins 59). Naturally, this mountain acts as both a literal and figurative “mask.” Literally, the mountain covers the Capitol from sight, like a mask covers a face. Figuratively, the mountain shields the true nature of the Capitol like a mask shields the blemishes on a face. Considering that the, “the car [train] goes dark” (58), and the only way to the Capitol is through, “the tunnel that runs up through the mountains” (58, 59), suggests blurriness as to where this place exists. This is likened to the feeling a person gets who is blindfolded and taken to a new location—“masked” as to where they actually are. Collins’ selective detail of the Capitol’s location contributes to its’ deceptive nature.

The Capitol’s appearance in its’ self deceives the tributes and the surrounding districts. When the train first exits the mountain, and floods with sunlight from the Capitol, both Peeta and Katniss, “run to the window to see what we’ve [they] only seen on television” (59)—suggesting a deceiving and manipulating force or quality to the Capitol. Katniss further describes the, “glistening buildings…the shiny cars” (59) as having, “colors [that] seem artificial, the pinks to deep, the greens too bright, the yellow painful to the eyes” (59). Katniss’ description of these colors expresses a surreal nature of the Capitol—a deceptive nature. The Capitol hides its’ true colors. The Capitol’s hypnogogic appearance contributes to the deceptive “mask” it wears.

The Mines

Masks—a reoccurring theme that permeates Collin’s novel shows up in chapter 16 again. The Career tributes reveal their base camp as vulnerable and unprotected—trying to hide the true nature of the hidden mines. Katniss’s first impression—“The whole setup is completely perplexing” (216)—is confirmed by Foxface and her distinct actions when stealing food. This situation parallels a humans’ impression forming process. It starts with a first impression and directing attention to others to confirm you beliefs—to expose their masks. Collins utilizes this recurring theme to stress the importance of being your self!

The Cornucopia

The Capitol’s embellishes the cornucopia with weapons and food to deceive and draw the tributes towards it at the begging of the games. Figuratively, the cornucopia in this sense “masks” death, considering the number of people who died going there. This hints towards the fact that the Capitol really controls these games. Overall, someone’s or something’s “mask” can be so unrevealing and deceptive that it can lead to death.

Suggested Further Reading/Viewing

1- Respectable Review Regarding the New Movie
http://movies.ign.com/articles/122/1220408p1.html

2- Overview of entire book (plot, themes, etc.)—GOOD RESOURCE!
http://novelinks.org/uploads/Novels/TheHungerGames/Concept%20Analysis.pdf

References

1- "A Killer Story: An Interview with Suzanne Collins, Author of 'The Hunger Games'" Home. Web. 16 Apr. 2012.
<http://www.schoollibraryjournal.com/article/CA6590063.html>.
2- "Carl Jung." My Webspace Files. Web. 16 Apr. 2012.
<http://webspace.ship.edu/cgboer/jung.html>.
3- Carter, Bill. "Tired of Reality TV, but Still Tuning In." The New York Times. The New York Times, 13 Sept. 2010. Web. 15 Mar. 2012.
<http://www.nytimes.com/2010/09/13/business/media/13reality.html>.
4- Collins, Suzanne. The Hunger Games. New York: Scholastic, 2008. Print.
5- "Dystopias in Contemporary Literature." Enotes.com. Enotes.com. Web. 16 Apr. 2012.
<http://www.enotes.com/dystopias-contemporary-literature-criticism/dystopias-contemporary-literature>.
6- "Dystopian Science Fiction." Science Fiction Subgenres. 65-74. Print.
7- "English 100-19." Protected Blog › Login. Web. 16 Apr. 2012.
<http://english10019.wordpress.com/sequence-one/reading-responses/chapters-16-17/>.
8- "'Hunger Games' Movie Fuels Sharp Rise in Book Sales." The Hollywood Reporter. Web. 15 Apr. 2012.
<http://www.hollywoodreporter.com/news/hunger-games-twlight-book-sales-versus-jennifer-lawrence-josh-hutcherson-305457>.
9- James Wolcott, “I’m Culture Critic … Get Me Out of Here!” Vanity Fair, vol. 51,
December 2009, p. 146.
10- Michael Hirschorn, “The Case for Reality TV,” Atlantic Monthly, Vol. 299, May 2007, pp. 138-43.
11- "Persona (psychology)." Wikipedia. Wikimedia Foundation, 14 Apr. 2012. Web. 16 Apr. 2012.
<http://en.wikipedia.org/wiki/Persona_(psychology)>.
12- "Suzanne Collins." THE HUNGER GAMES -. Web. 15 Apr. 2012.
<http://www.suzannecollinsbooks.com/the_hunger_games_69765.htm>.
13- "The Hunger Games Review." IGN. Web. 16 Apr. 2012.
<http://movies.ign.com/articles/122/1220408p1.html>.
14- "The Hunger Games." Wikipedia. Wikimedia Foundation, 15 Apr. 2012. Web.<http://en.wikipedia.org/wiki/The_Hunger_Games>.
15- "Updated Figures for 'The Hunger Games' Books: More than 36.5M in Print in the U.S. Alone." EW.com. Web. 15 Apr. 2012.
<http://shelf-life.ew.com/2012/03/28/hunger-games-updated-sales/>.


The Inspiration (and Consequently the Success) of The Hunger Games

Number 1 New York Times Bestseller, number 1 USA Today Bestseller, and the Wall Street Journal Bestseller are a few of the titles granted to Suzanne Collins’ brilliant narrative, The Hunger Games. Her relevant inspiration such as reality TV, the Occupy Movement and other sociopolitical movements, and Greek mythology have given rise to a significantly successful novel, and consequently an even more successful movie. The International Movie Database (IMDb) has given the film a viewer rating of 7.7/10. Collins’ deliberate references to current political and social agendas along with astounding description of characters and plot have been the foundation for a successful and impactful book.

The narrative begins with a description of reaping day, the preceding event to the Games which serve as an annual consequence for previous revolt. Katniss, the protagonist, explains, “In punishment for the uprising, each of the twelve districts must provide one girl and one boy, called tributes, to participate. The twenty-four tributes will be imprisoned in a vast outdoor arena that could hold anything from a burning desert to a frozen wasteland. Over a period of several weeks, the competitors must fight to the death. The last tribute standing wins” (Collins 18). Upon her sister being chosen, Katniss volunteers in place of twelve-year-old Prim and submits herself to the Hunger Games along with her fellow District 12 tribute, Peeta Mellark. Following the death of her father, Katniss assumes the role of caretaker for her mother and sister, Prim, but she must now leave her family to enter the arena. Upon the start of the games, Katniss does not wish to succumb to the cruel nature of the Games and instead avoids the potential to have to kill her fellow tributes and acts in self-defense. Unexpectedly, those in control of the Games announce that if both tributes of the same district are the last two remaining, they may both be declared winners; Katniss immediately seeks out Peeta in hopes to save both of their lives. Finally, after much suspense, only Peeta and Katniss remain. However, the cruel nature of the event arises again when they learn in fact it had been a lie and only one individual may win. In a direct attempt to defy the Capitol, Katniss and Peeta plan a double suicide leaving no winner. Anger surges through the Capitol and at the last second they declare both tributes of District 12 winners! When the tributes arrive home, Haymitch, their mentor, explains, “Listen up. You’re in trouble. Word is the Capitol’s furious about you showing them up in the arena. The one thing they can’t stand is being laughed at and they’re the joke of Panem” (Collins 357). Haymitch’s description of the Capitol’s reaction reveals the government’s arrogant attitude towards the emotions of the tributes. Katniss and Peeta’s actions defy the rules of the Capitol but are devised as a means to avoid killing their partner. Neither of the District 12 tributes would allow themselves to succumb to the brutal nature of the Capitol and instead, despite possible repercussions, they act as humane partners.

The narrative is written so that its timeline reflects a chronological order with the insertion of a several flashbacks. The flashbacks allow for greater understanding of the current events without the necessity to explain every connection to such a great extent. For example, upon learning of the death of her father, Katniss reflects upon the meeting of her mother and father, “My father got to know my mother because on his hunts he would sometimes collect medicinal herbs and sell them to her shop to be brewed into remedies…I try to remember that when all I can see is the woman who sat by, blank and unreachable, while her children turned to skin and bones” (Collins 8). This flashback allows readers to greater understand both the physical and emotional effects of the protagonist’s loss and the reaction by her mother which instigated Katniss’s role as a mother-figure. Suzanne Collins’s The Hunger Games is told in first person by the young protagonist, Katniss Everdeen. Her firsthand account allows for a more personal description of the Games and their affect on those in the thirteen districts. If the Capitol had described the conditions and effects of the Games, their serious and cruel nature would remain veiled. Katniss’s descriptions and exposition of her thoughts provides readers with the opportunity to evaluate the consequences of such a society’s organization. Although clearly a representation of dystopian fiction, Collins’s use of Katniss as a narrator provides evidence of the effects of a dystopian society without literal descriptions. Collins does not state implicitly the characteristics and structure of a dystopian society, instead she uses the event of the Games as an interpretation and symbol of such a society and its consequences. Furthermore, the audience targeted by the narrative is adolescents, however, older ages are too able to withdraw great entertainment and meaning from Suzanne Collins’s powerful tale of the country of Panem and the Hunger Games.

In an interview conducted by Rick Margolis entitled “A Killer Story,” Suzanne Collins reveals her inspiration and internal struggles in writing The Hunger Games. When asked what inspired the powerful work of fiction, she replied, “One night, I was lying in bed, and I was channel surfing between reality TV
programs and actual war coverage. On one channel, there’s a group of young people competing for I don’t even know; and on the next, there’s a group of
young people fighting in an actual war. I was really tired, and the lines between these stories started to blur in a very unsettling way. That’s the moment when Katniss’s story came to me” (Margolis 30). Collins found inspiration in society’s portrayal of life, how reality TV often is more prominent in today’s culture than actual, real, life-altering events. She found it difficult to understand why we, as a society, are so consumed by false pretenses of real events when simultaneously war, government corruption, and hunger are presently occurring but ignored. She further explains, “If you’re watching a sitcom, that’s fine. But if there’s a real-life tragedy unfolding, you should not be thinking of yourself as an audience member. Because those are real people on the screen, and they’re not going away when the commercials start to roll” (Margolis 30). Collins draws a parallel between the abundance of reality television today and the abuse of the media by the Capitol to portray the Games as a sporting event which provides entertainment to its viewers. She argues that Katniss is a real person facing a real death which is broadcasted live 24-7 throughout Panem, and that there are many individuals today facing similar obstacles which should not be overlooked or reduced to other reality programs such as Jersey Shore. Collins distaste for much of today’s programming permeates throughout her novel, giving rise to contemplation of a current societal dilemma.

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Suzanne Collins reveals her deliberate attempt to expose social and political conditions in another interview by James Blasingame. In “An Interview With Suzanne Collins,” upon being asked “Did you intend for social and political commentary to be as important to the meaning of this book as they seem?” Collins provides an explicit response. She replies, “Yes. The sociopolitical overtones of The Hunger Games were very intentionally created to characterize current and past world events, including the use of hunger as a weapon to control populations” (Blasingame 726). Although written for adolescents, an older audience is able to pick up on and analyze Collins’s intentional insertion of critique of modern day social structure and government control. Her overtones permeate the modern day “anti-1%” sentiment reflecting the goals of current movements such as that of the Occupy Movement. She also deliberately inserts references to Greek mythology which too reflect the human instinct of survival and natural competition amongst individuals. Collins reveals, “The Hunger Games themselves, for example, were inspired by the story of Theseus, the mythological king of Athens, who slew the Minotaur, the horrible monster imprisoned in the Labyrinth” (Blasingame 726). The Hunger Games reflects the story of Theseus in that it depicts the story of an individual who must bring death upon others as a means to survive. Other parallels are found in the stories such as the use of a fight to the death as a punishment for revolt or uprising, the receiving of gifts from “sponsors” or elders, and finally the idea that both Theseus and Katniss volunteered their and subjected themselves to a potential and likely death. It is clear that Collins intentionally inserted references to other literature and current events as a means to critique modern society and provide warning for potential consequences.

John Green of The New York Times said of the novel, “…brilliantly plotted and perfectly paced…a futuristic novel every bit as good and as allegorically rich as Scott Westerfeld’s ‘Uglies’ books” (The Hunger Games website). Undoubtedly her thoughtful and intentional inclusions of references to topics that strike the nerve of much of society have instigated an astoundingly successful book. Readers find deeper meaning in Collins’ simplistic writing style through her descriptions of powerful characters such as Katniss and the events that are the Games. February11, 2010 the novel had sold over 800,000 copies and shortly thereafter in September of 2010 the novel became a New York Times Bestseller and remained on the list for more than 100 consecutive weeks (Wikipedia). The success of the novel permeated throughout the nation and catalyzed the production of a film version. The author’s dystopian ideals effectively translated in her written work and can be seen as a direct cause for the making and success of the film which was released March 23, 2012.

The opening weekend the movie generated $152,535,747, farm more than any of the Twilight movies to date; without a doubt reflecting its vast and enormous group of fans who much anticipated the release. Directed by Gary Ross, the film proved to be a huge success, Manohla Dargis of The New York Times said, “The screenplay by Mr. Ross, Ms. Collins and Billy Ray hews dutifully close to its source material, at least in wide strokes” (Dargis 1). Suzanne Collins participation in the writing of the film version of her best-selling narrative effectively produced a visual version of her literature that is able to maintain the integrity of the story. Katniss, who readers adore and admire, Dargis explains, “is a new female warrior, and she keeps you watching even while you’re hoping for something better the next time around” (Dargis 1). Her all too warrior –like persona is conveyed in one of the movie’s official trailers. Peter Travers of Rolling Stone in his review opens with: “Relax, you legions of Hunger Gamers. We have a winner. Hollywood didn’t screw up the film version of Suzanne Collins’ young-adult bestseller” (Travers 1). Although as readers the visualization is left solely to the imagination, providing greater adoration for the novel, Gary Ross did not disappoint Katniss’s supporters. The intrinsic ability of individuals to visualize the descriptions provided by the author generate a deeper endearment for written work, however, reviews of the film version of Collins’ brilliant work prove to be satisfying and sympathetic towards the readers’ visions and expectations.

The film version of Catching Fire, the second book in The Hunger Games trilogy, will be released November 22, 2013. A cause and effect relationship can be established between Collins’ thoughtful and deliberate inspiration and consequently the success of her work. Published in only September of 2008, four years later the production of the second film of the trilogy is already underway (Wikipedia). Her relevant and empathetic sources of inspiration along with her effective suspense-building plot have captivated an enormous audience throughout the world. It can fortunately be expected that through Collins’ active participation in the creation of the films will retain the integrity of her written work and furthermore the adoration of her audience.


Self-Preservation vs Self-Sacrifice

Suddenly, the government calls out your little sister's name. They declare that your sister has to fight to the death against twenty-three other children, and you have the opportunity to take her place. If your sister fights, she will probably die; on the other hand, if you fight, you will probably die. Which choice would you make? Katniss Everdeen in The Hunger Games has to make this difficult decision. As the novel progresses, Katniss continues to face situations where she has to choose between self-sacrifice and self-preservation. When her family and friends are in danger, she chooses self-sacrifice; the rest of the time, she struggles to keep herself alive.

Suzanne Collins' The Hunger Games is a dystopian novel for young adults. The novel is in chronological order, but occasionally, there are flashbacks that enhance the protagonist's character. The protagonist, Katniss Everdeen, describes her life in a futuristic world called Panem. In Panem, the Capitol forces two children from each of the twelve districts to partake in the Hunger Games. The children must then fight against each other until only one person survives. The author focuses on details depicting the control the Capitol has on the districts. She forewarns readers that this might happen to America and encourages change.

Katniss Everdeen struggles to stay alive while living in poverty. Katniss's mother raises her in the Seam in District Twelve http://thehungergames.wikia.com/wiki/District_12. People die from starvation on a daily basis in this area because they cannot afford food. After Katniss's father dies, her family also does not have enough money for food. Katniss then becomes resilient in order to survive. Karen Seccombe states, "Resilience is a multifaceted phenomenon that produces the ability to thrive despite adversity"(Seccombe 385). Katniss is young, and she is dealing with the grief of losing her father. Despite all of this, Katniss begins to provide food for her family and has a strong will to survive. Suzanne Collins further shows her ability to bounce back by incorporating Buttercup into the novel. Buttercup is a flea-bitten, scrawny cat whom Prim brings home one day. In response to his arrival, Katniss says, "I tried to drown him[Buttercup] in a bucket when Prim brought him home…But Prim begged so hard, cried even, I had to let him stay"(Collins 3). Buttercup represents Katniss and her struggle to survive. He lives despite all of his hardships just like Katniss.

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As part of self-preservation, Katniss also starts a new hobby, hunting and gathering: "I stole eggs from nests, caught fish in nets, sometimes managed to shoot a squirrel or rabbit for stew, and gathered the various plants that sprung up beneath my feet"(Collins 51). By going into the woods to hunt and gather, Katniss saves herself and her family from starvation. The Peacekeepers could kill Katniss for hunting because it is illegal in District Twelve to hunt. She still continues to hunt because there is a higher probability that she will starve to death than be punished. Katniss also does not have any other way to provide food for her family so she takes the risk. Katniss's special skill for hunting corresponds with resiliency. Seccombe writes about children who lived in similar conditions and developed a unique talent like Katniss. Researchers collected data on 698 children in Kauai that were in poverty. They discovered that the resilient children "had a high degree of self-esteem and self-efficacy, and many developed a special skill or hobby which was a source of pride"(Seccombe 388). Like these children, Katniss develops a special ability, hunting. She is proud of her ability to hunt, and she is better at hunting than most people. This special skill sets her apart from the rest of the Seam; as a result, she survives while others die. Katniss has the natural instinct to protect herself and her family.

Maternal feelings cause people sacrifice themselves for their children. Katniss Everdeen loves her little sister, Primrose, like a daughter. When the government chooses Primrose as a tribute for the Hunger Games, Katniss knows she will probably die: "In District 12, the word tribute is pretty much synonymous with the word corpse"(Collins 22). District Twelve does not train people for the Hunger Games like some of the wealthier districts. As a result, District Twelve has fewer winners. Primrose is weak and does not have survival skills, and thus she has a smaller chance of winning. With this knowledge Katniss gasps, "I volunteer. I volunteer as tribute"(Collins 22). Katniss loves her sister dearly, and she cannot imagine living without her. Even though Katniss will probably die, she is relieved that her sister is safe. Similarly, in Harry Potter and the Sorcerer's Stone, Harry Potter discovers that his mother sacrifices her life for him. Professor Dumbledore tells Harry, "Your mother died to save you. If there is one thing Voldemort cannot understand, it is love. He didn't realize that love as powerful as your mother's for you leaves its own mark. Not a scar, no visible sign…to have been loved so deeply, even though the person who loved us is gone, will give us some protection forever"(Rowling 299).

Harry Potter's mother dies to protect him from Lord Voldemort. She could have saved her own life, but she chooses not to. She has a love for her son so strong that he continues to feel it after her death. Katniss and Harry's mother want their relatives to be safe so they endanger their lives. Their maternal feelings influence them to put their loved ones lives before their own.

In addition to protecting family, people will put their lives in danger for their friends. After Katniss volunteers for her sister, she discovers that Peeta Mellark is the other District Twelve tribute. She recalls when Peeta tossed bread to her when she was starving as a child. Right before the games begin, Peeta confesses his love for Katniss. Katniss pretends to return his love because she wants sponsors http://thehungergames.wikia.com/wiki/Sponsorship. Once the games begin, Katniss starts to develop a close relationship with Peeta to the extent that she sacrifices her life for his.

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When Peeta is hurt, Katniss finds and takes care of him: "I've made myself far more vulnerable than when I was alone"(Collins 263). Katniss knows that she is risking her life by helping Peeta, but she does it anyway. She will do anything to keep him alive. Katniss further shows her affection by getting Peeta medicine at the feast http://thehungergames.wikia.com/wiki/Feasts: "All I can think of is that he's [Peeta] is going to die if I don't get to that feast"(Collins 276). Katniss cannot imagine living without Peeta so she goes to the feast to save him. She knows that if she does not go, Peeta will die. On the other hand, "feasts always result in fatalities"(Collins 279). Katniss has to choose between her own life and Peeta's; ultimately, she chooses Peeta's life. Similarly in Harry Potter and the Deathly Hallows, Harry Potter needs to make the same choice. All around him, Death Eaters are killing his friends. In order to stop this, he finds out that he needs to die. With this knowledge, he chooses to sacrifice his life for his friends: "Harry would not let anyone die for him now that he had discovered it was in his power to stop it"(Rowling 693). Harry does not want people to suffer on his behalf. He knows that he will die, but he does not care as long as his friends are safe. He also knows that walking to his death will be hard: "This cold-blooded walk to his own destruction would require a different kind of bravery"(Rowling 692). It is difficult to walk to one's death, but Harry is willing to take the challenge. Katniss Everdeen and Harry Potter have to choose between the suffering of others and their own life. Both of these characters cannot imagine living without their friends, and thus the decision is not difficult for them. For their friends they are willing to sacrifice their own lives, but otherwise they fight to stay alive.

During the deadly games, the protagonists have a strong instinct to survive. On the first night in the games, Katniss sleeps in a tree for her safety: "I climb up, sticking to the stronger branches close to the trunk, and find a sturdy fork for my bed"(Collins 155-6). There are wild animals and tributes that are looking on the ground for people. If someone sees her, he or she would have to climb the tree and wake her up in the process; Katniss would then be able to defend herself. Also by sleeping in a tree, Katniss can watch her surroundings. She turns to trees for safety. When tributes chase her, Katniss climbs a tree: "I do what I have done my whole life in such circumstances. I pick a high tree and begin to climb"(Collins 181). The tree protects her because she can climb higher than most people. The heavier tributes try to follow her, but the branches cannot hold their weight. Also as part of survival, Katniss does not lose her nerve. The Gamemakers create a fire that burns her on her thigh. Upon examining the wound, Katniss says, "I force myself to take deep, slow breaths, feeling quite certain the cameras are on my face. I can't show weakness at this injury. Not if I want help"(Collins 179). Katniss knows that the Capitol is watching her, and if she loses her nerve, sponsors will not be willing to help her. People that exhibit weakness do not win. Near the end of the Hunger Games, Katniss again shows self-preservation. Peeta and Katniss are the last remaining contestants, and instead of dying Katniss comes up with an idea. She says, "Yes, they[Capitol] have to have a victor. Without a victor, the whole thing would blow up in the Gamemakers' faces"(Collins 344). Katniss does not want either one of them to die so she decides to have them pretend to eat poisonous berries. The Capitol stops them before they swallow the berries and declares them both winners. Similarly, Sanger Rainsford in "The Most Dangerous Game" displays survival instincts. He also chooses to climb a tree for protection: "He climbed up into the crotch, and, stretching out on one of the broad limbs, after a fashion, rested"(Connell 14). Rainsford is more vulnerable on the ground so he goes into a tree to sleep. He is also harder to spot in a tree than on the open ground. His hunter, General Zaroff, finds him in the tree, but the general decides to leave him alone. Rainsford then begins to panic because he realizes the general is playing with him. He tells himself, "I will not lose my nerve. I will not"(Connell 15). Rainsford knows that once he loses his nerve he will become an easy target. He needs to keep calm so that he can formulate new plans. Near the end of the game, Rainsford decides to break the rules and jump into the sea: "Twenty feet below him the sea rumbled and hissed. Rainsford hesitated. He heard the hounds. Then he leaped far out into the sea.."(Connell 17). Like Katniss, Rainsford knows that he is close to being killed so he jumps into the sea . The general does not expect him to do this, and thus Rainsford survives. These characters do whatever they can to survive by using survival instincts and breaking the rules. Ultimately breaking the rules saved their lives.

In the end, Katniss does not choose between self-sacrifice and self-preservation because by saving her loved ones she consequently saves herself. She declares multiple times that she cannot imagine living without them; if they were to die, she would be stuck in that moment. Thus when the government calls her sister's name, Katniss does not hesitate to volunteer for her sister's place. If you were in Katniss's place, which decision would you make? Would you combine self-preservation and self-sacrifice?


Use of Hunger and Control

If you were put in a situation with no food, shelter, or water and the only people with you were attempting to kill you, what would you do? Suzanne Collins’ recent novel, The Hunger Games, answers this question as the main character, a sixteen year old girl named Katniss, enters The Hunger Games. Through Katniss’ perspective and several flashbacks, the reader is engaged from the very beginning. The book takes place in a future nation, Panem, where Katniss lives with her mother and sister in one of twelve districts unjustly ruled by the Capitol. Every year, as a reminder to the districts of the power it possesses, the Capitol holds the Hunger Games. Each district must have one girl and one boy representative, between the ages of twelve and eighteen, fight to the death in an unknown arena. The Games ultimately display severe class division and what can happen when a government possesses too much power. The Capitol gains this power by manipulating a basic human need, hunger, to control a nation and ultimately kill innocent children. Every human needs food, and the Capitol uses starvation to control the districts. Food is scarce in almost every district, and the Hunger Games provides one winner whom may have the glory of food, while the rest of Panem continues to suffer unfairly.
To keep up on all the current and past Hunger Games info, click on the following link:
http://www.thehungergames.co.uk/

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The Hunger Games is such a popular novel and many readers wonder how the topics of hunger and control can become the theme of a book. In An Interview with Suzanne Collins, she explained how hunger became the focus of her book, “The sociopolitical overtones of The Hunger Games were very intentionally created to characterize current and past world events, including the use of hunger as a weapon to control populations” (An Int. w/Collins, 2008). Collins wanted to show the reader an example of food becoming so important, it’s basically a weapon. Such situations have already happened in a smaller scale, and the book warns of a possible worldwide hunger epidemic. The very idea of The Hunger Games came to Collins as she explains, “One night when I was very tired and I was lying in bed channel surfing. I happened upon a reality program, recorded live, that pitted young people against each other for money” (An Int. w/Collins, 2008). Collins basically substituted the prize of money with food and created a future world of her own. The extreme similarity is that in today’s reality programs, money is the control factor whereas in Collin’s novel, hunger means control. If one obtains money, they naturally have power over the poor because the poor cannot change who’s in power. The same idea is at large in The Hunger Games in terms of food.

The idea of control over a population of people is everywhere in the world today and is also prevalent in The Hunger Games. The Capitol is a tyranny that takes advantage of its almost limitless power to rule Panem. In the actual Games, the representatives from each district are given nothing and placed in a huge arena to fight to the death. They must rely solely on themselves to provide food, water, shelter, and weapons. The Gamemakers enforce their own rules upon The Games, and they can create whatever obstacles they so choose. For example, during The Games, there is a huge fire in the arena and Katniss knows how it occurred: “The flames that bear down on me have an unnatural height, a uniformity that marks them as human-made, machine-made, Gamemaker-made. Things have been too quiet today” (Collins 173). The Gamemakers were forcing Katniss towards the other tributes by “guiding” her with a deadly fire. Katniss and the other tributes have no choice, even in the supposedly “fair” arena. The Gamemakers have complete control over everything and they choose what happens and when it happens. This is one example of how the Capitol affects The Games to eliminate any dull moments. Suzanne Collins compares the Capitol to real life governments, “Tyrannical governments have also used the techniques of geographical containment of certain populations, as well as the nearly complete elimination of the rights of the individual” (An Int. w/Collins, 2008). The Capitol is a perfect example of this type of tyrannical government, manipulating the tributes in the arena to get the entertainment it wants. The fire the Gamemakers create geographically contains the tributes to force them closer to each other so the death the Capitol craves happens sooner. The tributes are totally at the mercy of the Capitol and they have no rights at all while in the arena.

Hunger is a serious problem in Panem and the Capitol does absolutely nothing to try to help its people. In fact, the Capitol takes advantage of the lack of food by using it as a source of more power. The hunger in Panem is an issue that seems to be unsolvable. In A Modest Proposal, by Jonathan Swift, a satirical solution to end hunger in Ireland is suggested: eating babies (Swift). Swift mocks the problem of hunger because people are trying to help the poor, but very unsuccessfully. Eating babies clearly is not a solution to hunger and is morally wrong, but Swift is trying to say that his baby-eating solution is just as good as what is being done now. He believes that people truly do not care about the poor and they have heartless attitudes towards the less fortunate. Swift was insulted when people tried a cure-all solution and he realizes that it cannot be resolved overnight.

A Modest Proposal is very much like The Hunger Games because it deals with the issue of hunger and the fact that there appears to be no real solution to help the poor people in Panem and Ireland. Poor people can then be taken advantage of because they need food, and those who have food then have power. This is the power and control that is often abused, as in The Hunger Games, the way the Capitol uses tesserae. If a family needs food, they can have their children between the ages of twelve and eighteen receive portions of grain and oil for a year (one tesserae). For each tesserae received, an extra entry for that child is put into the reaping. This process totally takes advantage of the poor because they will have a greater chance of being in The Games simply because they have no food. The poor get poorer and the rich get richer, just like it often is in the real world and in A Modest Proposal.

The Capitol in The Hunger Games is not only a tyranny, but it specifically takes advantage of the citizens of Panem by using their starvation to gain labor. The Capitol has enough food and money, but most districts of Panem are scarce with food. In a Books For Adolescents review of The Hunger Games, James Blasingame states, “Starvation is a very real part of life…[the] Capitol keeps the citizens of 12 outlying districts hungry and subservient while exploiting their natural resources and cheap labor” (Books for Adolescents). This quote proves that the Capitol is severely abusing its power to benefit from the districts’ resources. The worst part is that the districts do not keep most of the resources they labor for; most of it is sent the Capitol’s way. For example, District 11 of Panem is in control of agriculture. They grow and collect both grain and cotton, almost all of which is sent to the Capitol. In fact, if any citizen is caught eating the crops they are harvesting, they are publically whipped for humiliation. The unjust ruling of the Capitol is overwhelming and the people of Panem are so worried about fulfilling their next meal that they don’t have time to concern themselves with the oppression they face.

The ideas of control and hunger in The Hunger Games can be viewed as separate issues, but ultimately the book boils down to the combination of the two in a form of control by hunger. Since the people who live at the Capitol are the rich people with tons of food and luxury, they control the whole nation of Panem. Most of the districts struggle to put food on the dinner table, and the food they harvest goes straight back to the Capitol. The districts are literally controlled by their hunger, which is brutally unfair considering it is violating a basic human right. According to Article 25 of The Universal Declaration of Human Rights, every human has, “the right to a standard of living adequate for the health and well-being of himself and of his family, including food, etc. (Declaration of Human Rights). The citizens of Panem are under an almost communist control by the Capitol. It is fair that the food they harvest gets sent to the Capitol, but the Capitol is then responsible to provide enough food back to the citizens so they can live a healthy, non-hungry life. Panem is literally being controlled by hunger and famine.

The Hunger Games is a dystopian story of an unjust nation which acts to warn the readers of a possible hunger epidemic in the future. The Capitol that Suzanne Collins created controls the population by food and hunger. Few people may realize, but similar situations are happening in today’s world. For example, Cuba is still currently run by a communist dictatorship which acts as a “worker’s class government”. Cuba’s labor force is controlled by the government just like the districts are forced to work by the Capitol. Also, the Cuban government sets the prices, rations goods, and controls almost every aspect of the work force. In fact, a Cuban is not allowed to change jobs without government permission. Cuba may not be specifically controlled by hunger, but it is controlled in a similar fashion, and may be controlled by hunger if people do not stop the government. Unfair governments exist today and Collins is warning the reader that if things don’t improve, even the great United States could turn into a real-life Panem.

Ending Hunger

There are many ways to help fight hunger and multiple organizations are helping the cause. In Milwaukee, The Hunger Task Force is taking on the mission to end hunger. They take donations, but do it on an interactive level; making the donations a dollar amount for every strikeout a Milwaukee Brewers pitcher throws at home games. To find out more, click on the following link: http://www.hungertaskforce.org/signature-programs/ks-for-a-cause/. This is only one of the many possibilities to donate or help others who don’t have enough to eat on a daily basis. Let’s work together and end world hunger so we don’t have to face what Katniss and all of Panem did!

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"An Interview with Suzanne Collins." Free Articles Directory | Submit Articles - ArticlesBase.com. N.p., n.d. Web. 15 Apr. 2012. <http://www.articlesbase.com/publishing-articles/an-interview-with-suzanne-collins-3288502.html>.
"Books for Adolescents - 2011 - Journal of Adolescent & Adult Literacy - Wiley Online Library." Wiley Online Library. N.p., n.d. Web. 15 Apr. 2012. <http://onlinelibrary.wiley.com/doi/10.1598/JAAL.52.8.8/pdf>.
Collins, Suzanne. The Hunger Games. New York: Scholastic Press, 2008. Print.
Swift, Jonathan. A modest proposal. Champaign, Ill.: Project Gutenberg, 199. Print.
"The Universal Declaration of Human Rights." Welcome to the United Nations: It's Your World. N.p., n.d. Web. 15 Apr. 2012. <http://www.un.org/en/documents/udhr/>.
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Reality TV and Propaganda

Imagine fighting others for the necessities of life- food, water, and shelter- with the hopes of survival, all while being aired on national television. Fighting against others for survival seems contained to the plot of a post-apocalyptic television show or novel. In realty, it's an idea that began with the creation of survival reality shows, where contestants are pitted against each other in a winner-takes-all competition. Suzanne Collins uses reality television in her 2008 novel The Hunger Games. The gruesome details of the novel seem as if they are far from the present, but with reality television becoming more graphic and competitive by the second, it may not be as far off as we believe. In Collins' novel, a corrupt government uses a reality television competition to broadcast their propaganda and assert power.

The Hunger Games is set in the future, after the destruction of North America. The country Panem rises from these remnants, and a strict government has created a sharp distinction between classes. Panem consists of a controlling Capitol and twelve outlying districts, each more impoverished than the last. Katniss Everdeen lives in the poorest of these districts. Katniss volunteers in place of her sister to participate in the annual Hunger Games. The Games serve as a reminder to the suppressed districts of the power the Capitol holds. Two children, a boy and a girl from each district, enter the games, but only one child survives as victor. The sadistic Games, along with the opening ceremony and interviews, are broadcasted nationwide, and watching is mandatory. As Katniss plays the Captiol's games she struggles against their power. [http://www.thehungergames.co.uk/]

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The broadcasting of the games brings a shocking comparison between Panem and our own reality television. Reality television in todays society is not as real as the name implies. In her essay "Panem et. Circenses", Carrie Ryan states, "The greatest trick Reality TV producers ever pulled was convincing the world what it's watching is real" (Panem et. Circenses). There is often a deeper story behind was is shown on our televisions, but clips are manipulated giving an entirely different story. Steven Reiss and James Wiltz conducted a psychological study on the effects of Reality TV. They concluded that those who reported "pleasure and enjoyment" from watching reality television tended to be more "status-oriented" (Why People Watch Reality TV). When Katniss's prep team is first introduced, they are unable to contain excitement about the beginning of the games. Their excessive wealth allows for those in the Capitol, like the prep team, to celebrate the murder of children. Opening ceremonies, feasts, and parties occupy most of their time. Those with the most wealth have the ability to sponsor a tribute by sending them gifts. These gifts often mean a higher chance of survival, creating a need for the tributes to put on appearances.

Physical and psychological appearances play an important role in contestant games. In The Hunger Games each contestant amplifies their personality, using it as a weapon against other tributes. A relationship is created between Katniss and her co-tribute Peeta Mellark as an attention grab. The simple idea of a romance causes an emotional attachment within the audience. And because of the nature of the games, where only one can survive, the romance causes even more drama, drawing attention towards Katniss and Peeta. Physical appearances are just as important, as Katniss and the other tributes are each given stylists. These stylists groom the tributes are dress them up, for the right clothing and make-up could be a deciding factor for a sponsor. Terri Toles Patkin's essay on the television series Survivor provides a similar example on appearances. "All of the players are good-looking, which seems to be a prerequisite for success." Many sponsors choose with the criteria of looks, and similarly, strength. In the same article, Patkin simply simply states, "Weakness also counts against players" (Individual and Culture Identity). Looking weak can be just as devastating as looking ugly. Little Rue, who was the youngest of the tributes, was marked as an easy kill in training, but proves herself when in the arena. Her understanding of plants and her ability to climb and navigate the treetops give her an advantage over the other tributes. Outward appearances can shape a character, but are most often deceiving.

Perceptions can be influenced by a force larger than just contestants. Producers are influenced by ratings, and are forced to outdo what has previously been done. A new arena is created every year in The Hunger Games, with brand new challenges presented. The goal is entertainment, and the Gamemakers have control over what happens in the arena and what is shown in order to maximize excitement for the bloodthirsty crowd. While Katniss is aware of the cameras around her, she is equally as aware that certain things are not shown. After the death of Rue, Katniss mourns her death by placing wildflowers over Rue's body, an emotional act unheard of in the Games. The government of Panem and the Gamemakers, who are comparable to television producers, quickly turn cameras away from the emotional, rebellious act. Our own reality shows prove this to be true. The presentation of material can show one contestant in favor of another and is able to change the opinions of contestants. If reality shows were, in fact, reality, there would no longer be a market for them.

The Hunger Games are a way for the government of Panem to assert control over the masses. The games are used to remind of the fate of District 13, a district who rebelled and was destroyed by the Capitol. Carrie Ryan brings forward a interesting fact in her essay. "The only difference between us and the viewers of the Capitol is that we have the agency to turn of the television at any time; we just choose not to" (Panem et. Circenses). The districts are forced to watch two of their own children fight to the death. To those people, the Games are not entertainment, but something to fear- to those in the Capitol, it is purely entertainment. The Capitol citizens are unaffected by the brutality, and the children playing in the games are purely seen as animals. In his article Peter Jones writes about Juvenal, a Roman poet who wrote satires against his government. Juvenal created the idea of panem et circenses, or bread and circuses. Panem et circenses was the idea of the government to quell any ideas of rebellion through entertainment (Ancient & Modern). The games are used as the circuses, distracting the population through entertainment and fear. As Steve Bonta points out in his article "Bread and Circuses", "Juvenal saw that the Roman Citizenry had become so addicted to entertainment and pleasure that they had lost the capability of governing themselves." This is not a problem shared by Romans and the citizens of Panem alone. With the advancement of media, including reality television, people have let entertainment infiltrate their lives (Bread and Circuses).[http://www.whale.to/b/bonta.html] While the government is not influencing what we watch today, Suzanne Collins presents us with an idea of what would happen if people let their lives be controlled by bread and circuses.

Entertainment becomes a fuel to propaganda in The Hunger Games. L. John Martin defines propaganda as, "a persuasive communicative act." This communication can come in the form of advertisement, education and political campaigning (Effectiveness of International Propaganda). The broadcasted Hunger Games, including the reaping, opening ceremonies, interviews, and the actual games, serve as propaganda for the Capitol. The first games were created after the destruction of District 13, causing any rebel to conform to the ideas of the Capitol out of fear. When Katniss Everdeen volunteers as tribute, the games have become an inescapable part of life. The role of the televised entertainment also serves as further propaganda. As Steve Bonta puts it, "Entertainment as a propaganda vehicle is often far more effective than more traditional modes of in doctrine, such as disinformation disguised as news broadcasts. This partly because people tend to lower their guard when presented with material marketed as entertaining or aesthetically satisfying, rather than informative" (Bread and Circuses). Because the reality television show, The Hunger Games lower the guard of the citizens, and those in Panem are unaware of the government's power. More importantly, those who live in the Panem no longer question the authority and power of the government.

The fight for necessities is not just restricted to novels. Though it is not a life-or-death competition, reality televisions makes contestants fight one another for a prize. Suzanne Collins makes a point about our own society by bringing reality television to The Hunger Games. The propaganda reality show controls the population, bringing a shocking revelation to what happens when people are distracted by bread and circuses. For now, struggling for food, water, and survival is to be left in dystopian novels and reality television shows.

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Bonta, Steve. "Bread and Circuses." The New American. 10 Feb 2003: pp. 38-41. ProQuest. Web. 28 Mar. 2012.
Jones, Peter. "Ancient & Modern." The Spectator. 283.8932 (1999): 18. ProQuest. Web. 28 Mar. 2012.
Marin, L. John. "Effectiveness of International Propaganda." Annals of the American Academy of Political and Social Science. Vol. 398 (Nov 1971) pp. 61-70. Print.
Patkin, Terri Toles. "Individual and Cultural Identity in the World of Reality Television." Survivor Lessons: Essays on Communication and Reality Television. Ed. Matthew J. Smith and Andrew F. Wood. Jefferson:Mcfarland & Co Inc, 2003. 13-24. Print.
Reiss, Steven, and James Wiltz. "Why People Watch Reality TV." Media Psychology 6.4 (2004): 363-379. Communication & Mass Media Complete. Web. 29 Mar. 2012.
Ryan, Carrie. "Panem et Circenses." The Girl Who Was on Fire: Your Favorite Authors on Suzanne Collins' Hunger Games Trilogy. Ed. Leah Wilson. New York: Smart Pop, 2011. 99-111. Print.
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