Book Review: The Hunger Games

The Hunger GamesThe 20th century had Lord of the Flies; the 21st century gets The Hunger Games (Suzanne Collins).

The Lord of the Flies stripped away the trappings, mental and emotional, of civilizing influences. It was a window into a very private world – who are you when no one in authority is watching over you?

The Hunger Games gives you a window on a similar survival situation, but there’s no privacy and the main character is always very aware of that fact. Caught in a televised fight to the death with her fellow tributes, Katniss Everdeen knows there are viewers and she knows she needs to do her best to manipulate them, right from the start when candidates are presented to the Capitol and to the games’ overseers.

Seriously, this book could not have happened without the advent of ‘reality’ television. Just like on Survivor, the strategy is not about how to survive – it’s about how to win, and how much of yourself you’re willing to change in the process.

The dystopic novel ties in to a few plot themes; the main one is the ‘fight to the death’ as entertainment for the masses, which goes all the way back to the Roman coliseum. There is also a tie-in of the ‘lone gunfighter’ theme, of someone already accustomed to fighting for survival (and hence taking it much more seriously than any well-kept, well-fed person), who is forced into a situation he or she doesn’t want to be in, all because of the whims of a madman (or mad society, in this case). And, props to Arnie, the mass-televised-game aspect (usually played with criminals to give it some kind of moral justification) isn’t new either. The Hunger Games also draws on Ancient Greece’s Minotaurian myth of sending young men and women to their doom, as tribute to a higher political authority. But it’s how the “game” is played that gives it a modern feel.

There are opening ceremonies directed by stylists, televised interviews (complete with a Regis Philbin sound-alike), training demonstrations. Strategy is first and foremost. Contestants need to impress the viewers so that they will be ‘sponsored’ – sent gifts of help during the games.

Katniss’ strategy sets up both a political threat to the justification for the Games, and a love triangle in her personal life, which sets the stage for the next two books in the trilogy. This is technically a YA (young adult) book, so expect it to be that level of challenging. Because this is a strongly first-person novel, one of the questions that isn’t really addressed is this: if we as readers are gaining entertainment from a story about this game, are we complicit in the notion of violence as entertainment? But if you’re a fan of dystopic fiction, overall, this one’s worth a read.

Twilight Graphic Novel Covers

So, I’ll preface this with my Twilight stance, like any person mentioning Stephanie Myer’s stories seems to have to do. I haven’t watched the movies. Haven’t read the books. And, perhaps because I’ve already been through an Anne Rice infatuation when I was a teenager, I have no current plans to do either. But for some reason (okay, nevermind, I know why), this series seems so ripe for parody. I mean, check out the LOL cats version.

I get all the entertainment I need from reading stuff like Chris Sims’ review of Breaking Dawn:

…it’s a thought-provoking movie, in that it raises a lot of questions in the mind of the viewer. Namely, what kind of sin could a man commit in a single lifetime that would cause his employer to make him walk up to another human being and say “One for Breaking Dawn, please”?

But now to the point of this long-winded post. (Preface over). Sims also did a review of the Twilight graphic novel adaptation and I thought the artwork by Young Kim was quite lovely so I’m posting them here:

Twilight: the Graphic Novel

Twilight, graphic novel edition.

 

NaNo Pep Talk from Lemony Snicket

Okay, so I “cheated” on my NaNo blogging commitment a bit over the weekend. I used pictures instead of words… I’m in the mid-month slump. So, to cheer myself up, I’m posting one of the NaNo pep talk emails from last year, my favourite one, written by Lemony Snicket.*  Jonathan Swift, bless his heart, would be proud, I dare say.

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Dear Cohort,

Struggling with your novel? Paralyzed by the fear that it’s nowhere near good enough? Feeling caught in a trap of your own devising? You should probably give up.

For one thing, writing is a dying form. One reads of this every day. Every magazine and newspaper, every hardcover and paperback, every website and most walls near the freeway trumpet the news that nobody reads anymore, and everyone has read these statements and felt their powerful effects. The authors of all those articles and editorials, all those manifestos and essays, all those exclamations and eulogies – what would they say if they knew you were writing something? They would urge you, in bold-faced print, to stop.

Clearly, the future is moving us proudly and zippily away from the written word, so writing a novel is actually interfering with the natural progress of modern society. It is old-fashioned and fuddy-duddy, a relic of a time when people took artistic expression seriously and found solace in a good story told well. We are in the process of disentangling ourselves from that kind of peace of mind, so it is rude for you to hinder the world by insisting on adhering to the beloved paradigms of the past. It is like sitting in a gondola, listening to the water carry you across the water, while everyone else is zooming over you in jetpacks, belching smoke into the sky. Stop it, is what the jet-packers would say to you. Stop it this instant, you in that beautiful craft of intricately-carved wood that is giving you such a pleasant journey.

Besides, there are already plenty of novels. There is no need for a new one. One could devote one’s entire life to reading the work of Henry James, for instance, and never touch another novel by any other author, and never be hungry for anything else, the way one could live on nothing but multivitamin tablets and pureed root vegetables and never find oneself craving wild mushroom soup or linguini with clam sauce or a plain roasted chicken with lemon-zested dandelion greens or strong black coffee or a perfectly ripe peach or chips and salsa or caramel ice cream on top of poppyseed cake or smoked salmon with capers or aged goat cheese or a gin gimlet or some other startling item sprung from the imagination of some unknown cook. In fact, think of the world of literature as an enormous meal, and your novel as some small piddling ingredient – the drawn butter, for example, served next to a large, boiled lobster. Who wants that? If it were brought to the table, surely most people would ask that it be removed post-haste.

Even if you insisted on finishing your novel, what for? Novels sit unpublished, or published but unsold, or sold but unread, or read but unreread, lonely on shelves and in drawers and under the legs of wobbly tables. They are like seashells on the beach. Not enough people marvel over them. They pick them up and put them down. Even your friends and associates will never appreciate your novel the way you want them to. In fact, there are likely just a handful of readers out in the world who are perfect for your book, who will take it to heart and feel its mighty ripples throughout their lives, and you will likely never meet them, at least under the proper circumstances. So who cares? Think of that secret favorite book of yours – not the one you tell people you like best, but that book so good that you refuse to share it with people because they’d never understand it. Perhaps it’s not even a whole book, just a tiny portion that you’ll never forget as long as you live. Nobody knows you feel this way about that tiny portion of literature, so what does it matter? The author of that small bright thing, that treasured whisper deep in your heart, never should have bothered.

Of course, it may well be that you are writing not for some perfect reader someplace, but for yourself, and that is the biggest folly of them all, because it will not work. You will not be happy all of the time. Unlike most things that most people make, your novel will not be perfect. It may well be considerably less than one-fourth perfect, and this will frustrate you and sadden you. This is why you should stop. Most people are not writing novels which is why there is so little frustration and sadness in the world, particularly as we zoom on past the novel in our smoky jet packs soon to be equipped with pureed food. The next time you find yourself in a group of people, stop and think to yourself, probably no one here is writing a novel. This is why everyone is so content, here at this bus stop or in line at the supermarket or standing around this baggage carousel or sitting around in this doctor’s waiting room or in seventh grade or in Johannesburg. Give up your novel, and join the crowd. Think of all the things you could do with your time instead of participating in a noble and storied art form. There are things in your cupboards that likely need to be moved around.

In short, quit. Writing a novel is a tiny candle in a dark, swirling world. It brings light and warmth and hope to the lucky few who, against insufferable odds and despite a juggernaut of irritations, find themselves in the right place to hold it. Blow it out, so our eyes will not be drawn to its power. Extinguish it so we can get some sleep. I plan to quit writing novels myself, sometime in the next hundred years.

–Lemony Snicket

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*I don’t normally steal entire bits of writing and post them wholesale, but this (as far as I can tell) has not been ported over to the new NaNo 2011 site, and it deserves to be read. So it will have a home here until someone sends me a ‘please cease and desist’ notice.

This blog entry is part of Foxtail’s Post A Day efforts during November, undertaken in the “get-out-there-and-write-something” spirit of NaNoWriMo. Except, of course, I didn’t write this one.

Story Comes in Many Forms

Jules over at 7Imp recommended this video and oh boy am I glad I took the time to check it out. It’s one of the most beautiful examples of storytelling I’ve ever seen. Both the song and the animation are top notch, and, just like the best illustrated stories, the words and pictures each tell a powerful story that is related to the whole but don’t entirely repeat themselves.

The song is by the Villagers (next up on my “must check out” list) and the illustration is by Adrien Merigeau. This brief explanation of the video is on the Villager’s website:

Nothing explains the film better than the film itself. Nonetheless, here is a concise and vaguely pretentious synopsis: The film charts the development of a young man as he navigates his way through an impressionistic landscape in search of an elusive monster which is intent on destroying his childhood home. Lost and confused for the most part, he nonetheless uncovers the beast; a creature whose origins are both terrifying and liberating.

That gap between words and pictures…

From the Booktrust Best New Illustrator Awards

“A good illustrated picture book engages the audience – you’re drawn into it, it’s a world that you’re happy to go into. I do feel that the best illustrators have a voice, in a peculiar kind of way. I mean separate from the text of the story… these illustrators recognize that a true picture book has a gap between the pictures and the words… Pictures often tell us more than the words do, or they tell a slightly different story.” – Anthony Browne

Viviane Schwarz

Sara Ogilvie

This is why I love picture books – as commented in this video slideshow of the Best New Illustrators Award on the Guardian’s website, courtesy of Seven Imp (lots of other great stuff on that site as well if you’re a picture book fan).

The video narrator does make a comment that he feels picture books are getting pushed aside in favor of “books with only words”, which I’m not sure I’d agree with across the board, simply due to the recent explosion of graphic novels – a market which still has a lot of potential.

Claudia Boldt

Katie Cleminson

However – there is, to my mind, still a pretty significant gap between picture books and graphic novels. (The same “gap” mentioned in the above quote, if I’m going to play on words.) That unique quality of what a great illustrator “fills in” or adds to the story hasn’t been given a free rein in the graphic novels I’ve seen, although I’m sure there must be some examples out there. The vast majority of the illustration in graphic novels is normally used to advance the story in a fairly straightforward way, and is rarely used to contradict the text aspects – perhaps a hold-over from comic book days, where most of the text was merely exposition or dialogue rather than a storyline in itself.

I can’t wait to see the first “picture book novel” where someone takes a true picture book and extends the story over 100 pages instead of 30. Anyone? Oliver Jeffers maybe? Pleeeease? ;)

The list of winners featured in the slideshow can be found on the Booktrust website.

Collective Coffee Booklet

Collective Coffee booklet

Collective Stories - click to enlarge images

I got a chance to stretch my book-making skills when Collective Coffee had their grand opening a couple of weeks ago. Inspired by all the bits of 20th St. history that found their way into the building, this accordion-fold booklet was the result.

Collective Coffee Booklet

Collective Coffee booklet - cover and gatefold

Research for the piece began in the Local History Room at the Saskatoon Public Library. It was really impressive to watch the archivists in action – if you so much as mentioned something you were on the trail of, they would take it and run with it, and soon you’d have a stack of archive materials sitting on the table just waiting for your attention.

Collective Coffee Booklet

Collective Coffee Booklet - Inside

The inside of the book features two historical panoramas of 20th Street, and photos of several re-incarnations of the Two-Twenty building (including when it was Kanigan’s Furniture and Joe’s Cycle and Sports).

Collective Coffee Booklet

Collective Coffee booklet - outside

The outside of the booklet has some details about the “coffee philosophy” of Collective Coffee’s owner, Jackson Weibe, and the story of the Two-Twenty building, owned by Shift Development‘s Curtis Olson. The Two-Twenty is part of an ongoing revitalization of 20th Street that began with the riverbank development and the Farmer’s Market on 19th, and will house Saskatoon’s first co-work space.

Vinegars Ltd - The Riversdale Vinegar Factory

Vinegars Ltd.

One of the details that we hunted down was the history of the vinegar factory in Riversdale. The reclaimed wood from the vinegar vats was used in the façade of the front counter at Collective Coffee. Jacob Semko, a local artisan and printmaker who crafted the counter, says the wood gave off a strong whiff of vinegar when it was cut. These days, of course, the only thing you can smell in the café is the espresso.

Production notes: We used a Xerox color laser printer to print the piece and printed the booklets two-up on a 12″ x 40″ piece of paper, the maximum length that the printer would accept. The first edition was a run of 50 and we’ll be doing another run of 50 again shortly. The scoring was the tricky part, since it adds ‘creep’ to the panels, and I’ll be needing to adjust the score marks for the next batch.

Grant Unrau at Stun Collective (next door to the Two-Twenty and designer of the Collective Coffee and the “It’s Good in the Hood” logos), let us use his facility for production and I think I am in love with the old guillotine slicer that he has! Will try and post pics of it at a future date!