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The Hunger Games Teaching Young Adults the Themes of Genocide
12/5/2012 HIS4935-‐02
Prof. Nathan Stoltzfus
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Introduction
The theme of catering specific things to a young adult audience has been one that has
been around for centuries. The idea of exposing the up and coming generations to things that
have occurred, and still do occur within our society, is not one that is recent, but rather a
continuing cycle that has occurred over many, many years. One of the things that is often
exposed to young adults is the concept of violence. It often has and does cause uproar amongst
those who are doing the exposing (whether it be authors of books or creators of video games),
the exposed young adults, and the parents. One of the most recent incarnations of this process
is the young adult book series The Hunger Games, written by Suzanne Collins. It is a book (and
now movie) series that is rife with violent themes and, in being so, has created a lot of
controversy once again over the topic of just what themes young adults and teens should be
exposed to. The Hunger Games series is a set of three books that creates a vivid dystopian
world of violence and oppression and exposes young readers to genocidal themes – by
correlating the events in each one of the three books to actual examples of genocide; it is
proven that these books are useful teaching tools to the young adult readers in regards to
genocidal themes. This proof is only emphasized by the people who are using The Hunger
Games to help shine light on events, both past and present, in history.
Important Questions
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There is no questioning whether or not the themes in The Hunger Games series are
violent ones, but do a number of these themes qualify as acts of genocide as well? Can one take
a specific scene from one of the three books (or even the first movie), connect it to a specific
definition of genocide, and then correlate it to an event in history that will help give said scene
some historical perspective? And if all of this correlation is possible, how well are these
concepts of genocide within The Hunger Games series being taught to the young adult readers
who are so heavily invested in reading (or viewing) said series?
What is Genocide?
To begin this examination, a specific understanding of what constitutes genocide needs
to be stated. For this paper, the definitions and descriptions provided by Ben Kiernan in his
book, Blood and Soil: A World History of Genocide and Extermination from Sparta to Darfur, will
be the model from which the inspection of scenes within The Hunger Games series will come
from. Blood and Soil also provides ample historical examples to which comparisons can be
made in regards to historical context. Kiernan provides a detailed definition of what constitutes
genocide according the 1948 United Nations Convention on the Prevention and Punishment of
Genocide. He states that the convention “specifically covers the forcible removal of children
from their families, the imposition of living conditions that make it difficult to sustain a group’s
existence, and the infliction of physical or mental harm with the intent to destroy a group ‘as
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such’.”1 He breaks this definition down further to examine everything from physical to culture
genocide, as well as providing criteria of what usually goes along with genocidal acts. Not being
used in this paper are Kiernan’s four main criteria that are present when a specific group
commits acts of genocide. They are not necessary to this examination, and consequently do not
match up well to the scenes in The Hunger Games series. The pertinent information is found
specifically in his telling of what the 1948 U.N. Genocide Convention constitutes as acts of
genocidal aggression.
The Hunger Games – A Brief Overview
It is also is important to know what exactly The Hunger Game series is. The Hunger
Games is a book trilogy (and now a growing movie franchise) that was started by Suzanne
Collins in 2008. The story is set in a post-‐apocalyptic North America, where the government
(the Capitol) rules over the population of the country known as Panem with an iron fist. The
country is broken up into twelve districts, and every year each district must offer up in tribute
one young man and woman, between the ages of twelve and eighteen, to be sent to an arena
to fight to the death until only one remains. The government does this as a form of punishment
for an uprising the districts tried to commit against them. The entire series is told from the
point of view of the lead female character, Katniss Everdeen. She volunteers to be the tribute
for District Twelve in the place of her sister, and finds herself thrown into the arena alongside a
1 Kiernan, Ben, Blood and Soil: A World History of Genocide and Extermination from Sparta to Darfur (New Haven: Yale University Press, 2007), 10-‐11.
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boy with whom she has a past connection, Peeta Mellark. The story goes from the public
reaping in District Twelve, to her times in the Hunger Games, to her as a victor alongside Peeta,
to being thrust back in the Hunger Games, to the uprising and the war against the Capitol. It
spans three books -‐ The Hunger Games, Catching Fire, and Mockingjay.
Book One – The Hunger Games
Beginning with the first book in the series, The Hunger Games, readers begin to see
glimpses of genocidal themes right from the very get go. Not sixteen pages into the very first
chapter, Katniss Everdeen begins to describe what she refers to as ‘the reaping’ – the lottery-‐
style way one boy and girl is selected from each district to participate in The Hunger Games.
Katniss describes the reaping as “a good opportunity for the Capitol to keep tabs on the
population”, stating that “attendance is mandatory unless you are on death’s door.”2 These
reapings fulfill one of the criteria that qualify an action or event as a genocidal one – the
forcible removal of children from their families. The reaping scene in The Hunger Games is
reminiscent of the way the British Australian government treated the Aboriginal children in the
19th century. According to The Unregulated Employment of Aborginal Children in Queensland by
Shirleene Robinson, many Aboriginal children “were kidnapped and removed from their
traditional localities” in order to provide labor for the abusive Australian government.3 While it
is true that in The Hunger Games, the children are not ‘kidnapped’ (they are aware that the
2 Collins, Suzanne, The Hunger Games (New York: Scholastic Inc., 2008), 16. 3 Robinson, Shirleene, “The Unregulated Employment of Aboriginal Children in Queensland, 1842-‐1902,” Labor History No. 82 (May, 2002): http://www.jstor.org/stable/27516838 (accessed December 2, 2012), 1.
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reapings will occur every year), they are still being forcibly taken from their families much in the
same way the Aboriginal children were taken from theirs. As the readers get further into
Katniss’ telling of what occurs throughout this particular reaping, she begins to paint a
descriptive picture of the living conditions her family and the other residents of District Twelve
must endure:
“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. Those injured in the mines. Straggling through the streets. And one day, you come upon them sitting motionless against a wall or lying in the Meadow, you hear the wails from a house, and the 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.”4
This description of the way many of the residents in District Twelve live qualifies as “the
imposing of living conditions that make it difficult to sustain a group’s existence.”5 Katniss
provides ample evidence throughout her various descriptions of District Twelve that indicate
the Capitol is aware of the conditions their people are living under, but are doing almost
nothing to rectify it. Kiernan states that “even deliberate inaction in a crisis could fall into the
category of complicity in genocide.”6 He makes it clear that such inaction/complicity is in a
separate category from genocide, but is still punishable by the 1948 treaty. Forced starvation is
a tactic often used by governments in order to maintain control over the people they are ruling.
The Indian government, in 2003, was accused of negligence in regards to numerous reports of
4 Collins, The Hunger Games, 28. 5 Kiernan, 10. 6 Kiernan, 16.
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people within their country starving to death.7 The use of ‘Primitive Tribal Groups’ in the title of
this same article lends itself to the idea that all of the people/characters in these examples are
considered to be lesser than human. The Aboriginal children of Australia were not considered in
the same degree as the British children, the Indian tribes that faced starvation were ‘primitive’,
Katniss and her fellow twelve to eighteen year olds are forced to participate in a reaping – a
term that is most notably associated with the harvesting of crops or goods. These all constitute
as a form of racism, which “may exist independently of races, or of any belief in biology or in
innate inferiority.”8 Racism is a common ideological feature of genocide. The first book of The
Hunger Games not only shows, in specific detail, the themes of genocide, but also shows young
adult readers that the stereotype of racism being based on race is not always the case.
Book Two – Catching Fire
With the immersion into the second book of The Hunger Games series, Catching Fire,
young adult readers are exposed to several more genocidal themes. Early on in the book,
readers are following Katniss and Peeta along the Victory Tour (for they ended up being joint
Victors of the 74th annual Hunger Games). Their first stop along the tour happens in District
Eleven, and this is where the first distinct occurrence of a theme tied to genocide in the second
book takes place. While honoring a twelve year old girl Katniss had gotten close to in the 74th
annual Hunger Games, both Peeta and Katniss are witnesses to a very disturbing event:
7 Khera, Reetika, “Starvation Deaths and ‘Primitive Tribal Groups’,” Economic and Political Weekly, Vol. 43, No.52 (December 27, 2008 – January 2, 2009): http://www.jstor.org/stable/40278326 (accessed December 2, 2012), 11. 8 Kiernan, 22.
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“We would be safe inside the Justice Building by now, if I hadn’t stopped, if I hadn’t left my flowers. Instead, from the deep shade of the verandah, we see the whole thing.
A pair of Peacekeepers dragging the old man who whistled to the top of the steps. Forcing him to his knees before the crowd. And putting a bullet through his head.”9
What prompted the old man’s execution was a four-‐note whistle the twelve year old had
taught Katniss in their games – a mockingjay call. The mockingjay is a bird in the story that
Katniss had unintentionally turned into a symbol of rebellion during her first foray into The
Hunger Games. The action of punishing/executing those who go against governmental rule,
whether it be for a minor action or a full on rebellion, has been seen time and again throughout
history. A notable instance where the government went to extremes in punishing those they
ruled due to rebellious circumstances is the British government’s reaction to the Irish Easter
rebellion in 1916. After the Irish rebellion against the government failed, the government went
about gathering up and executing many who had not committed any real offence during said
rebellion.10 For totalitarian governments are prone to such actions in order to make sure that
their power is felt by all those they consider to be part of their rule. Jacques Semelin, in the
book Purify and Destroy, builds upon what was put forth by philosopher Hannah Arendt – that
“an ideology (that is, the logic of an idea) sets out to impose itself on everyone through terror,
and terror, in return, justifies all its crimes in the name of that ideology.”11 In these such cases,
as seen in the District Eleven Victory Tour stop in Catching Fire and the British reaction to the
9 Collins, Suzanne, Catching Fire (New York: Scholastic Inc., 2009), 62. 10 Townshend, Charles, “Making Sense of Easter 1916,” History Ireland, Vol.14, No.2, 1916: 90th Anniversary Issue (Mar. – Apr. 2006): http://www.jstor.org/stable/27725427 (accessed December 3, 2007), 44. 11 Semelin, Jacques, Purify and Destroy (New York: Columbia University Press, 2007), 32.
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Irish Rebellion in 1916, the ideology being expressed is that the government is the one in
control and that to defy them will only bring about death and destruction.
This same concept is expressed in Catching Fire through the way the Capitol handles the
Victors of the past Hunger Games. It is announced by President Snow that the tributes for the
75th annual Hunger Games will be selected from a pool of all the districts’ previous Victors,
respectively – meaning Katniss Everdeen will be returning to the arena (for she is the only living
female Victor from District Twelve).12 As the reapings for the 75th annual Hunger Games arrive,
and through the following build up in the story to Katniss reentering the arena, the young adult
readers are introduced to Victors that have, in some way or another, defied the Capitol. It is
easy to conclude that the reapings for this particular year in The Hunger Games were rigged by
the Capitol – that they are, in fact, trying to purge the districts of all who have outsmarted
them. The idea of purging the Victors is ultimately realized as the young adult readers near the
end of Catching Fire. The website Hunger Games Wiki, an online encyclopedia of all things
Hunger Games related, even has a page entitled ‘Victors’ Purge’:
“The victors' purge was a mass arrest, interrogation and execution of previous Hunger Games victors, orchestrated by Panem's government just after the 75th Hunger Games came to an unexpected end with the destruction of the arena. Katniss Everdeen, Finnick Odair, and Beetee were rescued from the arena by Plutarch Heavensbee in a District 13 hovercraft. At the same time, Enobaria, Peeta Mellark, and Johanna Mason were captured and taken to the Capitol for interrogation and torture. It is believed that the Capitol took all the other victors from their respective Districts and also interrogated and tortured them about Katniss' and the other victors' locations. When the victor outlived their purpose or found to be of no use, they were killed.”13
12 Collins, Catching Fire, 172. 13 “Victors’ Purge”, The Hunger Games Wiki: http://thehungergames.wikia.com/wiki/Victors'_purge (accessed November 7, 2012).
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Once they have put all of the past Victors together in another Hunger Games, the Capitol begins
to commit acts covered in the 1948 U.N. Genocide Convention – they begin to subject Katniss
and her fellow victors to physical and mental harm, intending for the majority of the group to
perish. Examples of these physical or mental harms include:14
• Corrosive fog – can be attributed to chemical warfare. (298) • Orange Monkey Muttations/Insect Muttations – ties can be made to the beasts Roman
Gladiators were subjected to in Ancient Rome. (307, 350) • Jabberjays, which force the Victors to listen to the sounds of their loved ones being tortured –
mental abuse. (340)
It is common for such forms of torture to occur when a totalitarian government is in place. It is
used to “demonstrate the superiority” of one side while simultaneously demonstrating “the
helplessness” of the other.15 World War II brought forth many examples of torture (both
mental and physical), most notably the torture performed by the Nazi party within their
concentration camps. It is yet another tool utilized in genocidal acts.
The Capitol, in Catching Fire, takes things a step farther when they deliberately go
about destroying an entire group of people – not the Victors, but all of the people who reside in
District Twelve:
““After the Games, they sent in planes. Dropped fire-‐bombs.” He hesitates. “Well, you know what happened to the Hob.” I do know. I saw it go up. That old warehouse embedded with coal dust. The whole district’s covered with the stuff. A new kind of horror begins to rise up inside me as I imagine firebombs hitting the Seam.
14 Collins, Catching Fire, 298-‐350. 15 Eitinger, Leo, “Torture: a perspective on the past,” Journal of Medial Ethics, Vol. 17 (1991): http://www.jstor.org/stable/27717099 (accessed December 3, 2012), 9.
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[…] But Gale is not one to keep secrets from me. “Katniss, there is no District Twelve.””16
Bombing as means of extermination certainly qualifies as an act of genocide – it is a deliberate
act to eradicate people the ruling party does not feel deserves to live. There are numerous
examples of bombing being used as means of extermination throughout history. The work
Bombing of Savages provides details on many of these types of bombings – one such example
being two separate locations the British bombed in order to maintain control over rebellious
savages.17 Once again, young adult readers are shown the idea that certain people are lesser
than those in charge is a prominent factor.
Book Three – Mockingjay
Mockingjay, as the third and final book in The Hunger Games series, reiterates the
genocidal themes brought up in the first two books, while simultaneously showing young adult
readers genocidal themes in the context of warfare. The same bombing technique that was
used upon District Twelve at the end of Catching Fire is repeated on District Eight in
Mockingjay.18 The physical and mental abuse suffered by the Victors in the 75th annual Hunger
Games is brought into even clearer focus when it is all happening to Peeta Mellark in
16 Collins, Catching Fire, 391. 17 Lindqvist, Sven and Linda Havery Rugg, “Bombing the Savages,” Transition No. 87 (2001): http://www.jstor.org/stable/3137438 (accessed December 3, 2012), 51. 18 Collins, Suzanne, Mockingjay (New York: Scholastic Inc., 2010), 93.
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Mockingjay.19 Considering that this is the third book in the trilogy, these themes should already
begin to be understood by the readers. Only now, these themes are expressed in the context of
war because Katniss Everdeen and her faction of rebels are actively fighting against the Capitol.
It does not change, however, the way such acts are viewed. While the killing of soldiers is
expected in a war, the mass murder of noncombatants are constituted as war crimes – “terms
like genocide, extinction, extermination, civil war, ethnic “cleansing”, war crimes, and biological
warfare all represent independent and often overlapping concepts.”20 Mockingjay provides a
unique way to show young adult readers what does and does not change in the context of war.
The Hunger Games film
The release of The Hunger Games film only strengthens the ideas that genocidal themes
are present within the story, and provide useful visual aids when a person is trying to teach
young adults about the aspects of genocide. Two prime examples of such visual aids associated
with The Hunger Games film that are exclusive to this interpretation of the story are the use of
‘tagging’ individuals and the propaganda style imagery that was put online prior to the release
of the movie.. The first example takes place during the very first reaping scene that was
examined previously in this paper, in the interpretation of the book. As was stated, the Capitol
likes to ‘keep tabs’ on the population, but Katniss never describes to what degree the Capitol
actually does this. It is in The Hunger Games film, that a visual example is presented:
19 Collins, Mockingjay, 132. 20 Kiernan, 16.
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Figure 1: Primrose Everdeen, younger sister of Katniss, has her blood scanned and identified by the Capitol.21
One of the most notable examples of identifying individuals in such a way as to keep tabs on
them was the tattooing performed on those who were brought to the Nazis-‐run concentration
camp at Auschwitz during World War II. While it was the only concentration camp run by the
Nazis that participated in the act of tattooing individuals, the imagery of such tattoos have
become one of the most recognizable attributions to the genocide committed by the Nazis
during the Holocaust22. Doing an image search using the terms ‘Auschwitz tattoo’ will return
numerous results – images depicting the ‘serial number’ style tattoos the Nazis had stamped
onto the prisoners. In the reaping, as well as the tattooing done at Auschwitz, the action of
identifying people was completed at the beginning – “Tattooing was generally performed
during registration when each prisoner was assigned a camp serial number.”23 Both forms of
‘tagging’ are visual reminders of how governments view human beings as things to be
catalogued – it is another form of degrading and dehumanizing individuals. On the opposite end
21 The Hunger Games, directed by Gary Ross (Santa Monica: Lionsgate Entertaiment Inc., 2012). 22 United States Holocaust Memorial Museum, “Tattoos and Numbers: The System of Identifying Prisoners at Auschwits,” Holocaust Encyclopedia, http://www.ushmm.org/wlc/en/article.php?ModuleId=10007056 (accessed December 2, 2012). 23 Ibid., http://www.ushmm.org/wlc/en/article.php?ModuleId=10007056
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of the spectrum of dehumanization is the use of propaganda style images to motivate a
population into believing or feeling what the ruling government wants them to believe or feel.
Vivid propaganda imagery was prevalent during the World War II era, and was used by most, if
not all, of the key player governments involved. The United States propaganda campaign
encouraged American patriotism and nationalism, while often denouncing and discriminating
against their bitter Japanese enemies:
Figure 2: An example of a United States propaganda poster with the intention of motivating Americans while degrading the Japanese, from the National Archives.24
In comparison, a campaign of propaganda posters focusing around the world of The Hunger
Games came out in the build up to the release of the film in March of 2012:
24 “Stay on the Job Until Every Murdering Jap is Wiped Out!, 1941-‐1945,” The National Archives, http://www.archives.gov .
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Figure 3: One of several propaganda posters that were released by the website ‘College Humor’ prior to the release of The Hunger Games film.25
Even though the example from ‘College Humor’ was created in jest, it still lends itself to the
same ideals incorporated by the authentic United States propaganda poster – encouraging
people to do right by their government, while belittling those they feel are inferior to them. The
visual examples built around and expressed directly by the movie provide a way of teaching
young adults that can be hard to achieve just through text alone.
The Public Opinion
The search for secondary sources to support the thesis began with using the idea of
examining the broad topic of violence in The Hunger Games – it is something that one who is a
fan of the series is often exposed to (most notably the backlash to such violent themes). As
expected, the results rendered were too broad. So then secondary sources were searched for
25 Tanner, Caldwell and Nathan Yaffe, “Almost Readings/Hunger Games PSAs,” College Humor, http://www.collegehumor.com/article/6747670/hunger-‐games-‐psas/page:2 .
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based on the premise of genocide in young adult literature (in general). This yielded a few
sources, but there was more of a focus on actual historical genocide being covered in young
adult literature rather than genocide being expressed in a fictional context. It was the very
specific search for thoughts on genocide in The Hunger Games, directly, that produced a fairly
decent amount of secondary sources asking similar important questions to the ones presented
in this paper. They all seem to address historical context and the ability of these books to be
used as teaching tools to help children and young adult readers understand the concept of
genocide.
There are excellent examples that help strengthen the idea that The Hunger Games
books are fantastic sources from which people can teach young adults about the horrors of
genocide. A member of The Harry Potter Alliance (http://www.thehpalliance.org) posted an
article that bridges The Hunger Games to current conflicts happening in the Sudan. While the
author, Becca Simpson, spends a majority of the article providing details of the Sudan conflict,
there are several places where she references The Hunger Games. And in the end, she invokes
the reader’s connection to the characters of The Hunger Games in an effort to get them to act –
“Let’s stand with Katniss and Peeta; refuse to play the game of inaction. Genocide is entirely
preventable, but requires constant vigilance and an upholding of the phrase “never again”.”26
26 Simpson, Becca, “Sudan: A 21st Century Hunger Games,” The Harry Potter Alliance: http://thehpalliance.org/2012/03/sudan-‐a-‐21st-‐century-‐hunger-‐games/ (accessed November 7, 2012).
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There is another site, designed as a school project, which is entirely dedicated to comparing
and contrasting The Hunger Games to the events of The Holocaust.27
And there have also been interesting statements and conclusions made from sources
that do not focus directly on The Hunger Games series. An excerpt from a book called Genocide
in Contemporary Children’s and Young Adult Literature expresses the opinion that children who
have been exposed to genocide in their daily lives, and survived, are helped by young adult
books which reflects these experiences.28 Unfortunately this book has yet to be released, so
only this excerpt is available. It still goes to show that this type of literature, although violent
and harsh, can help young readers. It can be tied into to the way Peeta Mellark, a character in
The Hunger Games series that is very identifiable with the reader, is tortured both mentally and
physically.
As stated in the very beginning of this examination, there has been obvious opposition
to The Hunger Games series. It is a given when the books have such violent content. But it
seems that the violence is as far as those posing the opposition get. According to the American
Library Association’s listing of Frequently Challenged Books of the 21st Century, The Hunger
Games placed fifth in 2010, and moved up two places to third in 2011. Some of the things
attributed to The Hunger Games on these listings were “insensitivity”, “unsuitable to age
group”, and “violence” (violence was the only ‘accusation’ attributed The Hunger Games both
years). This same attribution of violence is attached to The Hunger Games movie, of which
27 Chudnovsky, Alice, Hunger Games vs. Holocaust: http://hungergamesvsholocaust.weebly.com/index.html (accessed November 7, 2012). 28 Gangi, Jane, Genocide in Contemporary Children’s and Young Adult Literature: http://www.taylorandfrancis.com/books/details/9780415699082/ (accessed November 7, 2012).
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several angry parents ranted about on various articles and websites – one such article declaring
“Parents Beware of The Hunger Games!” as its title.29 The opposition to the violence is really all
that is needed to understand where these parents stand in terms of teaching their children
about genocide through the series. Genocide, at its very core, is violent. And these parents feel
that their kids are not ready to handle any of the violence in The Hunger Games. Whether or
not genocide is being taught about in a praiseworthy manner is irrelevant.
Conclusion
By taking scenes directly from the literature of The Hunger Games series, and lining it up
to actual historical context, a bridge between fantasy and reality are created. Young adults will
be able to compare and contrast things that happened in The Hunger Games to things that have
happened in our own past (as has been proven by this paper). An understanding of genocidal
themes is drawn when it is presented in the proper context. Thus it can be confirmed that The
Hunger Games can actually be used as a decent teaching tool when it comes to the themes of
genocide. The various website examples of people doing just as this paper has done also lend
themselves to this conclusion. But the bias against violence in young adult-‐viewed content
hinders the material’s ability to be used in such a teaching manner. Much of what parents see
in the series is considered too violent for young adult readers to be exposed to. Many do not
seem to care that the themes presented within this violent context can help children and young
adults better understand why similar things have occurred in human history. They do not
believe that their children are prepared to handle these themes at such early ages. Suzanne 29 SBrinkmann, “Parents Beware of The Hunger Games!,” Women of Grace: http://www.womenofgrace.com/blog/?p=13247 (accessed November 7, 2012).
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Collins expresses an opinion on this matter, one which provides a genuinely perfect example as
to why The Hunger Games series is a proper teaching tool:
“If we introduce kids to these ideas earlier, we could get a dialogue about war going earlier and possibly it would lead to more solutions…I just feel it isn't discussed, not the way it should be. I think that's because it's uncomfortable for people. It's not pleasant to talk about. I know from my experience that we are quite capable of understanding things and processing them at an early age."30
30 Italie, Hillel, “Writer Suzanne Collins Completes ‘The Hunger Games’,” Readingeagle.com, http://readingeagle.com/article.aspx?id=256698 (accessed November 6, 2012).
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SBrinkmann, “Parents Beware of The Hunger Games!,” Women of Grace:
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