Sunrise On The Reaping
Subverting the ‘Chosen One’ trope once again.
Suzanne Collins, like many times before, holds a mirror and demands we acknowledge the world beyond her books. The question of manufactured consent and propagand armwrestles the reader to acknowledge how they might make assumpts solely based on propaganda. Even from the preface and the quotes picked by Collins at the beginning of the book, it is clear her intention was draw atention to this matter.
“Nothing appears more surprising to those, who consider human affairs with a philosophical eye, than the easiness with which the many are governed by the few; and the implicit submission, with which men resign their own sentiments and passions to those of their rulers.”
Theme:
Perhaps more powerfully, definetly more stricking to me, was the idea of how revolutions happens. Never all at once, and always a mixture of hard work and luck. In the past, I have argued that Rue was the beginning of the revolution, the call to action, the wind that propelled the sails of cooperation and community across districts. In this latest instalment of ‘The Hunger Games’ universe, Collins reminds us that revolution happens every day. Every time we point out a flaw in a system, every time we choose community despite the inconvenience, every time we organise our community, every time we educate ourselves in the struggles of our people across the globe. And the addition of all these small revolutions is what makes A Revolution.
Character Development:
Haymitch is the embodiment of self-medicated trauma. The Hyamitch we see in the Hunger Games is drunk, mean and distant. Through his relationship with Katniss, Peta, Effie and, later in the series, the other victors, we get a glimpse of who Haymitch is.
In Sunrise On The Reaping, we are allowed to see Haymitch before the life-changing trauma. The sweet boy who woke up early every day to do his chores and ease the burden on his mother. The boy who loved his little brother. The boy who bought Lenore Dove gumdrops when he had a little bit of extra money. This story is different because we know the end, and we know who Haymitch ends up being, and in that, there is a sense of comfort. Of course, bad things happen to him; we know he was reaped into the games, and we know he has no family. But nothing, I repeat, nothing prepares you to face the scope of violence and cruelty Haymitch endures.
It is so powerful to understand the parallels between Katniss and Haymitch, especially their love and protectiveness towards their siblings. Katniss and Peeta, to an extent, were reminders of everyone Haymitch had loved. And I wonder what variables in this amalgamation of coincidences and luck could be changed for there not to have been a Mockingjay? Was revolution inevitable or is luck of the same importance as collective work?