Much like the rest of the world, I was shocked to see the announcement of this book in June 2024. Knowing that Suzanne Collins only writes when she has something to say, I was intrigued to see what kind of social commentary this newest trip to Panem would entail. (Spoiler alert: the epigraph opens with four quotes on propaganda and its influence on the masses; the message this time should be pretty clear).
“Sunrise on the Reaping” is a prequel in the “Hunger Games” series, this time taking place about 25 years before the first book, following Katniss’ mentor Haymitch. Readers of the original series will remember a scene where Katniss and Peeta watch a recap of Haymitch’s games, so upon first glance, it doesn’t seem like there is much else to tell. However, given the theme of the book is propaganda, it quickly becomes clear to the audience that we, through the eyes of Katniss, fell for the narrative that we were being told, instead of what actually took place.
From the very beginning, Haymitch is a character not unlike Katniss, a poor child from District 12 who cares for their family. Where they begin to differ, though, is Haymitch is much more socially aware, making him a more reliable narrator. He’s a fighter fueled by inspiration from his girlfriend, Lenore Dove, back home. This leads to the central motivation behind his character, summed up in a promotional quote that reads, “They will not use my tears for their entertainment.” This novel focuses on storytelling and who gets to decide what story is told.
One of the points that Collins drives home in the novel is the characterization of President Snow. Because his rise to power and fall from morality was the subject of the previous installment, there was an abundance of people “missing the point” and becoming too forgiving of the character through the eyes of his younger self. Make no mistake, there is no subtlety in this installment. Snow is, without a doubt, the villain and the mastermind behind much of how the Games evolve.
Knowing how a story ends can sometimes cheapen the effects of a prequel, but Collins expertly weaves a scathing commentary on how media can manipulate us, and at the same time recontextualizes the entire original series, now that the reader is let in on what they haven’t seen. Even returning characters, if done poorly, can feel like non-creatively handled fan service; this book is not that. Collins has a message to tell, and there is an emotional and thematic purpose behind every callback to the original series. It is a brutal reminder that the system does not change overnight and that the world as we know it is a stressful place. Still, as Collins herself reminds us in the acknowledgments, “The snow may fall, but the sun also rises.”
The views expressed are those of the writer and do not necessarily reflect those of The Torch.
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