Manipulating ‘The Hunger Games: Mockingjay – Part 1’

Director Francis Lawrence’s “The Hunger Games: Mockingjay – Part 1” begins much like Eric Bress and J. Mackye Gruber’s 2004 picture, “The Butterfly Effect.” Its heroine/hero is running from the past.

Katniss Everdeen (Jennifer Lawrence) has a lot to be running from. Memories of her time in both the 74th annual Hunger Games and the third Quarter Quell. Death threats from Panem’s oppresive tyrant, Coriolanus Snow (Donald Sutherland). Stings from tracker jackers and screams from jabberjays. Her post-traumatic stress keeps her up at night.

Still, she claws desperately at a future like a cat chasing after a laser light. She can see the ray of hope in her grasp, but it’s as empty as a hologram.

“The Hunger Games: Mockingjay – Part 1” — based on the bestselling young adult trilogy by Suzanne Collins — picks up where “The Hunger Games: Catching Fire” left off. Katniss and Finnick Odair (Sam Claflin) are rescued by a group of rebels led by President Alma Coin (Julianne Moore) and her second-in-command, Gamemaker Plutarch Heavensbee (Philip Seymour Hoffman).

As the film opens, it appears as if Katniss and Finnick have traded one prison for another. They are the rebels’ weapons — lured into a propaganda scheme to stir rebellion throughout the districts. Their loved ones, Peeta Mellark (Josh Hutchinson) and Annie Cresta (Stef Dawson), are separated from them — residing in the clutches of the Capitol.

“I wish they were dead,” Finnick soberly tells Katniss. “I wish they were all dead and we were too.”

This sets the tone for director Lawrence’s grim picture. Katniss’ home resembles the aftermath of an earthquake — a mountain of skeletons and debris. Meanwhile, we’re privy to messages from the Capitol: public beheadings throughout the land. Bombings of sick and injured at hospitals. It’s as unsettling as watching a child execute two adult soldiers in broad daylight.

But war forgives extreme actions. While the rebels may be fighting a cruel and unjust dictator, they are like ISIS — hijacking the public channels of communication. Instead of Twitter and YouTube, these rebels breed discontent via outdated TV airwaves. Katniss is seen shooting flaming arrows at Capitol planes. “If we burn, you burn with us,” she says. This precedes a scene where a group of rebels lure a group of Capitol police into the woods in order to bomb them.

Like any war, though, history’s written by its victors.

The Hunger Games’ victors move us. Lawrence with her “performance” as Katniss, the “girl on fire” in the rebels’ propaganda films and Claflin as the sexy Finnick Odair, keeper of Capitol secrets. They’re talented actors, but you have a feeling that they’re being pulled on a leash.

This becomes apparent when Katniss is rehearsing her first propaganda, repeating words the rebels have scripted for her. Katniss is behind a glass, much like she was when she was trying to impress Gamemaker Seneca Crane (Wes Bentley) during the 74th Hunger Game. A committee consisting of Coin and Heavensbee watch and examine her words and costume. They discuss her, but they don’t really see the girl behind the glass. All they see is a symbol — a false figurehead that they can manipulate: Katniss Everdeen, the mockingjay.

“The Hunger Games: Mockingjay -Part 1” is directed by Francis Lawrence and written by Peter Craig and Danny Strong, based on Suzanne Collins’ book. 

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‘The Maze Runner’ hits a brick wall

If Thomas were in his mid-50s, we’d be worried about early-onset Alzheimer’s. But when a healthy boy emerges from a box with next to no memories, something greater is at play. Thomas, like the rest of the boys in James Dashner’s bestselling dystopian children’s book, “The Maze Runner,” is missing part of his memory. Vocabulary like shank, shuck, klunk, keeper and slopper sound foreign.

Physically, Dashner’s hero looks around 16 years old, but Thomas doesn’t remember where he came from, what he had for breakfast, what he did yesterday, or who his parents are. When he arrives at the Glade, Thomas is consumed by panic, fear, curiosity and confusion as he confronts the frightening prospect of losing his mind.

The Maze Runner by James Dasher

“The Maze Runner”
By James Dashner
378 pp. Delacorte Press.
2009.

Dashner invokes the idea of tabula rasa — that we’re all born with a “blank slate.” But Thomas’ mind isn’t completely blank. For one, he remembers his first name. And he remembers other things too.

“Knowledge flooded his thoughts, facts and images, memories and details of the world and how it works,” writes Dashner. “Images of people flashed across his mind, but there was no recognition, their faces replaced with haunted smears of color. He couldn’t think of one person he knew, or recall a single conversation.”

These discrepancies seem awfully convenient for an author. It’s like Dashner’s creating a child without having to raise him. But Thomas isn’t Dashner’s only kid. He creates a whole mini-society inside the Glade, filled with one-dimensional characters defined by their roles.

There’s Thomas the newbie; Frypan the cook; Alby the leader; Newt the second in command; Gally the bully; Minho the explorer; Clint the doctor; Teresa the girl; Chuck the comic relief; and others. Without introducing the characters with backstory and memories, it’s hard to relate to them.

Perhaps the proposition would be less ludicrous if we had something more solid to grip on to. But there’s nothing solid about the Glade. The children live next to a giant maze with walking monsters called Grievers (think Creepers) and ever-changing walls. And just when they thought they knew the rules — creating their own system of order, the rules change.

Perhaps younger readers will by mystified by “The Maze Runner’s” uninspired prose, but this puzzle’s a less thrilling version of James Patterson’s “Maximum Ride” series; William Golding’s “Lord of the Flies”; and Jeffrey Lieber, J. J. Abrams and Damon Lindelof’s “Lost.”

“The Maze Runner” (2009) is the first book of James Dashner’s “Maze Runner” trilogy. “The Maze Runner” is followed by “The Scorch Trials” (2010), and “The Death Cure” (2011). The trilogy also inspired two prequels: “The Kill Order” (2012) and “The Fever Code” (set to be released in 2016).

‘Red Rising’: building a legend

Perhaps “South Park” perpetuated the myth that “gingers have no souls.” Or perhaps the stereotype’s actually came from Biblical times. Whatever the case, 16-year-old Darrow of the Lambda clan is a ginger. Or, as society calls him, a “Red.”

Red Rising by Pierce Brown

“Red Rising”
By Pierce Brown
416 pp. Random House. $15.96.
2014.

In Pierce Brown’s post-apocalyptic debut fantasy/sci-fi novel, “Red Rising” — which takes place more than 700 years after man first toiled on Mars, Colors are everything. As a Red, Darrow’s lower than the fiery-red dirt he spends his day mining under the city of Mars. As a Red, he’s the proletariat, the simple-minded working class, “the backs in which all the other Colors are built on.” But his Hell is eased by smartly disguised Edward Bernays-style propaganda.

“They told us we were man’s only hope,” said Darrow. “That Earth was overcrowded, that all the pain, all the sacrifice, was for mankind. Sacrifice is good. Obedience the highest virtue….”

They, of course, are Hitler’s visions of a superior master race. The Aryan Golds are Darrow’s oppressors, ruled by ArchGovernor Nero au Augustus. The Golds are born faster, stronger, smarter, crueler, bigger and more beautiful — commanding the fleets and highest offices of political power. They are the Machiavellian gods of this futuristic dystopia — who reward and punish (but mostly punish). That’s what they did to Darrow’s father and his wife, Eo.

But, as history has told us again and again, people aren’t happy with suppression. Look at the French and American Revolutions. The Civil Wars. Hundreds and thousands of men have died (and still do) for their ideals.

Brown (who would be a servant in the social hierarchy he created) weaves together a tale of legend, drawing heavily from Greek and Roman myths. The Red clans are letters from the Greek alphabet. The Golds are named after characters from Shakespeare plays: Cassius (“Julius Caesar”), Julian (Julius, “Julius Ceasar”), Antonia (Antonio, “The Merchant of Venice”), and Titus (“Titus Andronicus”).

Darrow’s odyssey teaches him about love and revenge, peace and war. Darrow’s Helen was stolen from him. So Darrow (which come from Old English rather than Latin origins meaning spear) is transformed into a weapon: a Trojan horse infiltrating the Gold empire.

“Red Rising” is reminiscent of many other stories: Frank Herbert’s “Dune,” Orson Scott Card’s “Ender’s Game,” William Golding’s “Lord of the Flies,” Suzanne Collins’ “The Hunger Games,” George R.R. Martin’s “Game of Thrones” and Glen A. Larson’s “Battlestar Galactica,” just to name a few. But these stories, like the Greek and Roman myths, are just as important as the works of Homer and Virgil, Plato and Aristotle. Someday, we might not remember where these myths originated from, but rather the stories that kept them alive.

“Red Rising” is the first book of Pierce Brown’s “Red Rising” trilogy. Its sequel, “Golden Son,” was released January 6, 2015. 

‘Scripted’ follows the YA dystopia script

Editor’s Note: This review is based on an Advanced Reader’s Copy obtained from G.P. Putnam’s Sons. 

In Evgeny Morozov’s book “The Dark Side of Internet Freedom: The Net Delusion,” there’s a chapter called “Orwell’s Favorite Lolcat” describing how the Kremlin uses entertainment to placate rebellion. In Suzanne Collins’ “The Hunger Games” trilogy, the Capitol uses a similar method to suppress the 12 districts of Panem, airing a gladiatorial-style survival game featuring teens throughout the country.

"Scripted" by Maya Rock

“Scripted” By Maya Rock
336 pp. G.P. Putnam’s Sons.
February 2015. $13.49.

Maya Rock takes these two concepts and merges them in her debut young adult novel “Scripted.” It stars 16-year-old Nettie Starling of long-running teen reality soap opera “Blissful Days,” a tamer ‘reality TV’ version of Linda Schuyler and Kit Hood’s “Degrassi.”

Like Margaret Peterson Haddix did with “Running Out of Time,” Rock creates an isolated microcosm of a larger world. Nettie’s one of the beautiful people who grew up on Bliss Island of the Drowned Lands. Her life revolves around crushing on her best friend’s boyfriend Callen, hanging out with her best friends Lia and Selwyn, trying to solidify her apprenticeship and obsessing about her TV ratings. If her ratings are lower than the predicted estimate, she’d literally get booted off the island and separated from her family and friends.

That’s what happened to her classmate Belle Cannery and her father. One day, they disappeared from the show; the rest of the “Blissful Days” Characters had to rid all their worldly reminders of them, pretending they never existed.

So when Nettie’s new Media1 producer Luz suggests a secret incentive-based Initiative to improve her mediocre ratings, Nettie jumps as the chance; however, Nettie soon learns that her life was never her own and individuality comes at a price.

Like Collins’ “The Hunger Games” trilogy, Scott Westerfeld’s “Uglies” trilogy and other YA dystopias, Rock’s 336-page novel  is an easy and absorbing read, re-packaging old familiar themes: the modern “1984” meets “Brave New World” mashup. Ever-present cameras represent the surveillance state within “Blissful Days” as Characters live in a constant fear of being cut. Meanwhile, Media1 produces “Blissful Days” as a distraction from larger off-screen political rebellions on the rest of the Drowned Lands islands.

If this story seems scripted, that’s because it is. Rock recycles the formula of high school, boys and survival prevalent in many YA dystopia novels (and CW television dramas). The “Gossip Girl”-esque atmosphere makes “Scripted” an addicting read.

But even if “Scripted” isn’t revolutionary, it’s the perfect “gateway drug to reading.” And contrary to what Huxley may argue, sometimes we need distractions.

“Scripted” is written by Maya Rock and published by G.P. Putnam’s Sons, an imprint of Penguin Young Readers Group. The novel will be released in February 2015. 

‘Snowpiercer’: Bong Joon-ho’s Pandora’s box

Hope is hard to find when you’re trapped in a cold iron box — surrounded by sickness, violence and 1,000 lean starving bodies with no room to move. But hope is there — buried in Pandora’s box.

It’s the fire in Curtis’ (Chris Evans) eyes as he patiently plans for rebellion. It’s the rumble in Edgar’s (Jamie Bell) belly as he hungers for steak. It’s the desperation in Tanya’s (Octavia Spencer) voice as she searches for her son, Timmy (Marcanthonee Reis). And it’s the feeling in our gut as we watch Bong Joon-ho’s two-hour dystopian film, “Snowpiercer.”

Inspired by Benjamin Legrand, Jacques Lob and Jean-Marc Rochette’s French graphic novel “Le Transperceneige,” “Snowpiercer” takes place in 2031 — 17 years after man’s remedy for global warming froze the earth. Humanity survives on Wilford’s (Ed Harris) sacred ark — a transcontinental train seated by social class. At its head is Wilford, the train’s divine engineer, and Wilfred’s mouthpiece Mason (played by the excellent Tilda Swinton). It’s caboose contains the dirty and destitute, yearning for a better life.

Captain America’s spearheading this revolution, trading his red, white and blue titanium shield for an inconspicuous wool hat. Evans’ almost unrecognizable in the hat and dark beard and you quickly forget his more popular on-screen persona. By the time he takes off his hat, revealing short, dark hair, he’s Curtis, the mysteriously reluctant leader in this fictional uprising. That’s a testament to the smart costume design by Catherine George and the work of the hair and make-up team (Linda Eisenhamerova, Chris Lyons, Gabriela Polakova, Paula Price, Matthew Smith, Bobo Sobotka and Jeremy Woodhead).

Under their direction (and Swinton’s acting, of course), the androgynous Swinton resembles a cross between “The Hunger Games'” Effie Trinket and “Harry Potter’s” deranged temporary headmaster Dolores Umbridge.

“Would you wear a shoe on your head?” says Mason. “I am the head. You are the shoe… Know your place.”

As Mason compares a shoe to life on Wilfred’s train, she holds a shoe in her hand and slowly twists it — as if its were a moving locomotive and she, the conductor.

Like his friend Park Chan-wook’s (“Stoker,” “Oldboy”) works, Bong’s “Snowpiercer” is visually striking. Bong even draws upon Park’s work. In one scene, Evans fights his way through a train compartment full of butch men in ski masks. It’s reminiscent to a scene from “Oldboy” (2003) — when the film’s hero, Oh Dae-su, fights through an corridor of men.

Written by Bong and Kelly Masterson, “Snowpiercer” (which is the Korean director’s first English language film) echoes the themes of Ayn Rand’s “Anthem” and Aldous Huxley’s “Brave New World.” Order is the code to survival — even if the fruit of freedom tastes sweeter. Nonetheless, in the grimmest of tales, a glimmer of hope resides.

“Snowpiercer” was directed by Bong Joon-ho and written by Bong and Kelly Masterson.

Double-Speak, Pretty-Speak & Avoxes: Revising Orwell for the 21st Century Young Adult Audience

The following is a paper I presented at the 39th Annual Children’s Literature Conference on June 15, 2012 at Simmons College.

I was fifteen years old the first time I read George Orwell’s 1984. It was around the same age I devoured Scott Westerfeld’s Uglies trilogy, and other young adult fiction.

What fascinated me about 1984 was the two minutes of hate, the way your own kids would betray you, the way words were cut from the dictionary, the way Big Brother knew and controlled everything — from thoughts to memories to reality.

The Uglies saga has the same elements of betrayal and government control, but what drew me into the books was the premise — that at 16, you get an operation that turns you pretty forever. Two thirds into the first book, you find out that being “pretty” isn’t all that it’s cracked up to be and you realize that making everyone “pretty” is a form of maintaining order.

Although both Orwell and Westerfeld’s books resonated with me, critics have traditionally seen the two as different animals. 1984 has been praised as “the cautionary form of projected political fiction.”[i] Meanwhile, young adult books like Westerfeld’s Uglies, or Suzanne Collins’ Hunger Games trilogy have been largely dismissed. As New Yorker critic Laura Miller writes, the books “operate like a fable or a myth, a story in which outlandish and extravagant figures and events serve as conduits for universal experiences. Dystopian fiction may be the only genre written for children that’s routinely less didactic than its adult counterpart. It’s not about persuading the reader to stop something terrible from happening—it’s about what’s happening, right this minute, in the stormy psyche of the adolescent reader.”

Despite these differences, both trilogies echo Orwellian lessons. Like in 1984, the tension rests between maintaining your own identity and maintaining a utopia.

The two cannot coexist.

As Orwell writes, “The ideal set up by the Party was something huge, terrible, and glittering — a world of steel and concrete, of monstrous machines and terrifying weapons — a nation of warriors and fanatics, marching forward in perfect unity, all thinking the same thoughts and shouting the same slogans, perpetually working, fighting, triumphing, persecuting – three hundred million people all with the same face” (Orwell 74).

Well in Uglies, at 16, the characters literally get an operation that makes them look like everybody else, think like everybody else, talk like everybody else. As Shay tells Tally, Westerfeld’s heroine, “Maybe when they do the operation — when they grind and stretch your bones to the right shape, peel off your face and rub all your skin away and stick in plastic cheekbones so you look like everybody else — maybe after going through all that you just aren’t very interesting anymore” (Uglies 50).

From "Shay's Story" by Scott Westerfeld.

From “Shay’s Story” by Scott Westerfeld.

Shay is the voice of wisdom in Uglies: “Listen, Tally,” she says. “These two months are our last chance to do anything really cool. To be ourselves. Once we turn, it’s new pretty, middle pretty, late pretty. Then dead pretty” (Uglies 49).

The Hunger Games trilogy also illustrates censorship and government control through the games, a televised contest where children fight to the death: “The real message is clear,” Collins writes. “Look how we take your children and sacrifice them and there’s nothing you can do” (The Hunger Games 22).

Katniss Everdeen (Jennifer Lawrence) and Rue (Amanda Stenberg) in "The Hunger Games" film.

Katniss Everdeen (Jennifer Lawrence) and Rue (Amanda Stenberg) in “The Hunger Games” film.

This is why Hunger Games contestant Peeta Mellark reveals his biggest wish as: “I want to die as myself. … I don’t want them to change me in there. Turn me into some kind of monster that I’m not” (The Hunger Games 171).

By understanding the system, the characters hope they have the devices to retain their own identity and rebel. Orwell maintained that when the public ceases to think of the meaning behind language, and uses phrases others have created for them, they will cease to think for themselves and become an extension of the governmental product controlling the masses. As Orwell writes in his essay, “Politics and the English Language“: “A man may take a drink because he feels himself to be a failure and then fail all the more completely because he drinks. It is the same thing that is happening to the English language. It becomes ugly and inaccurate because our thoughts are foolish, but the slovenliness of our language makes it easier for us to have foolish thoughts.”

This is illustrated in 1984’s “Newspeak” and “doublethink.” The destruction of words leads to the destruction of thought. How can we express the ideas of freedom or rebellion if we have no words for them? Under Big Brother, words are eliminated so one word contains multiple meanings. “Take ‘good,’ for instance,” Orwell writes. “If you have a word like ‘good,’ what need is there for a word like ‘bad’? ‘Ungood’ will do just as well… Or if you want a stronger version of ‘good’… ‘plusgood’ covers the meaning, or ‘doubleplusgood’… In the end the whole notion of goodness and badness will be covered by only six words — in reality, only one word” (Orwell 51). This is how “doublethink” works: one word takes multiple meanings so that war becomes peace, slavery becomes freedom, and ignorance becomes strength.

This elimination of language, and thus the elimination of thought, becomes a means of controlling the masses, as evidenced when uglies in Westerfeld’s series undergo the operation to become pretty. In addition to becoming “pretty,” the “bubblehead operation” also lobotomizes its patients, adding lesions that make thoughts and memories fuzzy. Much like how Big Brother wasn’t worried about Winston after he came out of the Ministry of Love, the government isn’t worried about pretties rebelling. After all, how can you rebel if you can’t think? As Westerfeld writes, “Maybe the reason war and all that other stuff went away is that there are no more controversies, no disagreements, no people demanding change. Just masses of smiling pretties, and a few people left to run things” (Uglies 267).

Of course, there is no denying the power of speech. Collins writes in Catching Fire, “Peeta’s tongue would have far greater power against the Capitol than any physical strength the rest of us could claim” (Catching Fire 408). Perhaps that is why Avoxes in Panem lose their tongue so they are unable to speak, and thus unable to express ideas or rebel. Instead, Avoxes are forced to be Panem Capitol slaves, watching Capitol extravagance and never being able to say a word in dissent.

If this is the case, it’s no wonder that contestant Katniss Everdeen has frightening nightmares where she becomes an Avox. (Mockingjay 161). That is the state of shock Katniss finds herself in after her sister Primrose dies near the end of the third book. “I’ve become a mental, rather than a physical Avox,” she says (Mockingjay 410). Although Katniss has her tongue, she is mute after the trauma she’s been through. Like Winston following his torture in 1984, Katniss is broken, unable to function.

When Avoxes try to scream, they make horrible, guttural animal noises. Peeta remembers watching Avoxes being tortured by the Capitol. As Peeta says, “They kept asking him questions, but he couldn’t speak. They didn’t want information, you know?” (Mockingjay 320). Instead, the torture is a punitive measure, much like how the games are designed; they are both intended to be an example for anyone else who disobeys. Look, the government says. I can cut off your tongue — kill all your children — and there is nothing that you can do but watch.

Even worse than not being able to speak is not being able to remember — not being able to distinguish reality from fiction. In 1984, memory is established by the Ministry of Truth, which rewrites history every time an ally or enemy changes sides. Without this memory, there is no loyalty. As Orwell writes, “For how could you establish even the most obvious fact when there existed no record outside your own memory?”(Orwell 36) Peeta experiences similar mental confusion when he is injected with tracker jacker venom.

Tracker jackers are a lab-created mutation of killer wasps, whose poisonous venom targets the part of the brain that houses fear, causing hallucinations and nightmares. After the Capitol captures Peeta following the events in the second book, Peeta was subjected to the venom in a torture technique called hijacking. As Collins describes, “Imagine that I ask you to remember something — either with a verbal suggesting or by making you watch a tape of the event —and while that experience is refreshed, I give you a dose of tracker jacker venom … just enough to infuse the memory with fear and doubt” (Mockingjay 210). This is how memories can be rewritten, not through words but through feelings. After weeks of being subjected to this torture, Peeta has no idea what is real. Katniss, who Peeta loves and protects unconditionally throughout the first two novels, becomes an enemy in this mind. In their first reunion since the two of them were separated, Peeta tries to strangle and kill Katniss — a complete departure from how he felt and acted in the past.

The way the governmental bodies like Orwell’s Big Brother manipulated Party members through words, speech and memory appears throughout both Westerfeld and Collins’ books. But despite all the governmental measures to maintain control, rebellion never dies. In 1984, this is seen through the Brotherhood and the rebel leader Emmanuel Goldstein. Goldstein’s book explains how hope for the future is in the proletariats, who are not subject to Party rules. Because “proles” still have their own voices and thoughts, they are the only hope for an overthrow of the current system. Therefore, hope lies in the people, not the Party members. Even though members of the Brotherhood may die for tiny acts of defiance, the proles will always survive.

Westerfeld also shows rebellion by creating a society that survives outside the boundaries of Uglyville and New Pretty Town. This society is called the Smoke, and the residents are called Smokies. When Maddy and Az, two middle pretties who were surgeons on the Pretty Committee, discovered the tiny lesions in the brains, the two ran away and founded the Smoke. Maddy and Az wanted to create a focus group to observe uglies that did not undergo the operation. It turns out, these uglies are more confident and self-reliant. That’s because the lesions make you dumb and complacent, which in turn, makes you easier to control.

From "Shay's Story" by Scott Westerfeld.

From “Shay’s Story” by Scott Westerfeld.

Of course, this system would not work if its members did not buy into it. Uglies are smart, if not insecure, because they still have their minds. As Shay tells Tally, “You’ve only seen pretty faces your whole life. Your parents, your teachers, everyone over sixteen. But you weren’t born expecting that kind of beauty in everyone, all the time. You just got programmed into thinking anything else is ugly” (Uglies 84). By running away to the Smoke and remaining ugly after 16, you are rebelling, accepting your ugly face even though you’ve been called zits or freak your whole life. Like the proles, the Smoke is a symbol of hope, survival and rebellion. Even though the original Smoke burns down at the end of Westerfeld’s first book, the ideal of the Smoke lives on because there are still uglies willing to stay ugly forever.

From "Shay's Story" by Scott Westerfeld.

From “Shay’s Story” by Scott Westerfeld.

Although both Tally and Shay are forced to become pretties, this did not stop them from rebelling. Their pretty clique, called the Crims, fight to stay alert from the mental fuzziness the lesions cause. Tally accomplishes this by falling, or eating diet pills, or kissing Zane. Shay got the same feelings by cutting. In this way, both Tally and Shay overcame the brain damage the operation caused. As Westerfeld writes, “Brains are good at rewiring themselves. … Controlling someone by changing their brain is like trying to stop a hovercar by digging a ditch. If they think hard enough, they can fly right over” (Specials 84).

Sure enough, not even Special Circumstances can control the revolution. Special Circumstances, or Specials, are the city’s police force. Both Tally and Shay are also forced to become Specials: their job is to stop rebellion and maintain order, but that proves to be an impossible task. The Smoke, which was destroyed in the first book, has spread to the city of Diego, a town now full of independent thinkers. Cities have no business with the politics of other cities; therefore, even if New Pretty Town’s pretties escape to Diego, the home of the New Smoke, there is no way to penalize them. Meanwhile, the Smokies continue to cure pretties from their brain damage. With so many freethinking pretties and ugly runaways, even specials cannot maintain control — which leads to the collapse of the regime.

Meanwhile, Collins’ trilogy also captures unrest and rebellion. The Capitol of Panem, which incorporates 12 districts and the Capitol, originally inherited its name from the Latin phrase Panem et Circenses (Mockingjay 260-261). This translates to “Bread and Circuses.” The job of the districts was to provide goods and entertainment to the Capitol. As the districts begin to rebel from the Capitol and provide neither, the Capitol is rendered weak. Of course, this rebellion didn’t happen overnight.

When both Katniss and Peeta were cast to fight like gladiators in the 74th annual Hunger Games, they both came back alive. This was unheard of since the rules of the games have always been to crown only one victor. However, both Katniss and Peeta threatened to commit double suicide by eating poisonous berries at the same time. The only thing worse than having two victors was having no victors at all. Katniss and Peeta showed that it was possible to defy the government’s own rules while playing their game. The Capitol never intended to crown two victors. This act encouraged other unsatisfied districts to rebel from Capitol rule.

Mockingjays are also creatures that the government never intended to create. Mockingjays are the offspring of jabberjays and mockingbirds. Jabberjays were a Capitol mutation designed to act as spies and repeat overheard conversations. When rebels learned of this, they filled the jabberjays words with lies, so the Capitol had all the jabberjays destroyed. The Capitol never predicted that jabberjays would be resilient enough to mate with other songbirds and pass on their genes. Meanwhile, in Hunger Games, Katniss and another contestant named Rue are able to utilize the mockingjays’ song to create a form of communication. This four-note tune becomes another symbol of rebellion, and the rebels see Katniss as a mockingjay.

The Capitol also never predicted the existence of District 13. The district was originally destroyed after the first rebellion before the games were established as punishment. The Capitol bombed District 13 to silence them. However, after the bombing, some survived and moved underground, beneath the rubble. As Katniss’s actions spurred rebellion, District 13 re-emerged from the rubble to lead rebel forces against the regime.

Although Winston is not able to escape from the clutches of Big Brother, Tally and Katniss were able to contribute directly to the downfall of the previous regimes. However, rebellion and war always comes at a price. Tally is forever changed by the ordeal. She can never unlearn the truth, forget the death of her boyfriend Zane, or allow anyone else to rewire her brain. Therefore, Tally is still subjected to random bouts of anger and arrogance. At the end of the trilogy, she realizes that freedom has a way of destroying things; no longer checked, populations will expand, taking resources away from the wild.

Meanwhile, Katniss and Peeta are also damaged and subjected to nightmares from the games. That blood will never disappear. Peeta paints pictures so he can try to live with his memories while Katniss makes a mental tally of every act of goodness she sees. Both work on a book so their memories will be preserved. Like Winston and Tally, they can never escape from the horrors, but it is important to remember the past in order to control the future. As Orwell writes, “Who controls the past controls the future: who controls the present controls the past” (Orwell 35).

Katniss (Jennifer Lawrence) and Peeta (Josh Hutcherson) in "The Hunger Games" film.

Katniss (Jennifer Lawrence) and Peeta (Josh Hutcherson) in “The Hunger Games” film.

Now did I pick up on all these lessons when I was fifteen? Perhaps not.

When talking to people who are in caught up in reading The Hunger Games, people usually ask Team Peeta or Team Gale — as if the books were about a girl having to choose between two great, good-looking boys. Meanwhile, Westerfeld once blogged, “The success of Uglies is partly thanks to high school being a dystopia.” Yes, both the Uglies and The Hunger Games trilogies are addicting. As one of my friends expressed to me, “The endings of the books always made me want to throw them across the wall.” But doesn’t the fact that I’m standing up here talking about some books I read in high school mean something? Yes, the premise of Uglies may have driven me to read the book. But the books also taught me that being yourself is more important than being pretty.

And who is to say that 1984 wasn’t the Uglies or Hunger Games of another generation?

Janice Turner, a columnist for The Times in London recently published a column about how she made her 14-year-old son read 1984. When he finished, he said, “It was all right.” When Turner read the books back when she was 14 during the Thatcher-era, she recalled that 1984 opened her to a whole new world. Now, with all the riots and rebellions and 99 percenters out there, perhaps Hunger Games speaks to our generation like how 1984 resonated with an older one.

As Teresa Jusino writes for Tor.com: “Young people today need stories like The Hunger Games reminding them that activism is not something they need to aspire to, it’s something of which they are already capable.”

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[i] Horan, Thomas. “Revolutions from the Waist Downwards: Desire as Rebellion In Yevgeny Zamyatin’s We, George Orwell’s 1984, and Aldous Huxley’s Brave New WorldExtrapolation. 48.2 (Summer 2007): 314-341.