Review: Catching Fire, Hunger Games #2

     First, thanks to Fan Artist  AMClaussen, for posting this work of fan art in today’s Featured Image.

I have read The Hunger Games books, all except for the new prequel, now, in several languages, but it is still a good read and a great listen.  Particularly in the original, even if I normally try to avoid reading anything in English, as I have a hard enough time keeping up on my other languages, and don’t want to waste what little spare time I have reading in English, but this series is definitely the exception.  And the series makes a fantastic commentary on what childhood ought to be, versus what it is when stolen from people.  Because even those who never go into the Arena still have had their childhoods stolen from them, by virtue of having to go through the Reaping every year from 12 to 18.  I must remember not to read books in translation. This book had much more impact in English than in French, moving me to tears at several points, especially connected with the combined memories of Prim and Rue.  This is the second or third time I’ve read this book, but my first time listening to it in English. But still a very moving and worthwhile read, again.

I enjoyed the series, moderately, when I first read it three years ago (2011).
Now, in 2023, the book is even better upon reading again.  Listening to this again, early on in the book, it hits saddeningly close to home, today. Again, this one is also written in first person present tense, as I read them again in English rather than translation, and find it much more moving.

This second book continued the critique of the Bread and Circuses system, shown in the first book, that pulls resources from the Global South (i.e. particularly Districts 10, 11 and 12) to the developed former colonizing nations (Capitol), still portraying the USA as imperial Rome.

This second book brings into relief the details of the Roman Gladiatorial system, which readers and viewers may not identify with modern life. Perhaps football players and ballerinas ‘ruining their bodies for the entertainment of others’ comes to mind, similar to the most popular gladiators in Ancient Rome.  And, I’d almost forgotten that along with the games, winning gladiator worship, and the salute from

“We who are about to die”

before the games in the arena, Suzanne Collins also got the Vomitorium into the books. Wow

But, the revolutionary scenario neglects the difficulties of persuading the elites and semi-elites, Districts 1 and 2 being like some developing countries in terms of rising access to resources, and Gramscian alliances with the Capitol to prevent revolution in the first place.  Hierarchy gives protagonist something to lose, and then threatens to take it all away unless cooperation is given. Works for people and for countries, apparently.  And then these parts are simply fantastic:

“Prim … Rue … aren’t they the very reason
I have to try to fight?  Because what has been done to them is so wrong, so beyond justification, so evil that there is no choice?  Because no one has the right to treat them as they have been treated?

 …

That is brilliant, Fulvia… We Remember propos,

…
“Of course,”

says Fulvia, obviously mollified by the response to her idea.  Cressida has smoothed everything over in the creative department with her gesture.”

This is brilliant.  This recent rereading was even more instructive, for both the way the book helps build empathy and for the way in which it’s written.

Overall, while appreciating the references to PTSD, I found the second book more of a thriller than the first book, and a bit less interesting.

And once again, this book stuns me, and is even better when listened to again in audio format.  At regular speed.  🙂   And as prescribed in novel writing, the Protagonist takes the initiative, right about the halfway point.  And she puts in empathy building comments where she puts herself in the shoes of others and changes her perspective on those people… Excellent.

Shira

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Shira Destinie A. Jones, MPhil, MAT, BSCS

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