The world of “The Hunger Games” has expanded once again. Author Suzanne Collins draws readers back into Panem with the recent, highly anticipated release of “Sunrise on the Reaping” (“SOTR”), the second prequel of “The Hunger Games” series. Released on March 18, readers were finally able to explore Haymitch Abernathy’s story. The novel opens on the morning of the second Quarter Quell—the 50th Hunger Games—and Haymitch’s birthday. We travel with him through the reaping, the games and his homecoming, experiencing all of these traumatizing events in a different era and environment than previously explored in the series. “Sunrise on the Reaping” slots into the series like a puzzle piece we did not know we were missing, and now that it is here, I cannot imagine the series without it.
Collins reminds readers that she is one of the great dystopian writers of our time—her skill with words and mastery of plot is so impeccable that it demands to be studied. Collins successfully creates and merges storylines and imbues depth in characters with unparalleled ease. It is insanely difficult to create a novel that fits into an already existing universe, let alone one where readers believe they already know the outcome. After seeing Katniss watch the tape of Haymitch’s game in “Catching Fire,” I confess I certainly doubted Collins’ skill to surprise. However, that did not stop Collins from throwing in twists and turns nobody could ever have seen coming. Collins miraculously crafts an entirely new perspective on the 50th and other games, weaving the new story into the world without snagging a single stitch or leaving a hole.
It is well-known that Collins only writes when she has something to say, and man, did she scream at us this time. “SOTR” is an exploration of propaganda, dehumanization and implicit submission. Collins forces readers to contemplate how the few lead the many and the accompanying power of media control. The novel explores the ways in which culture survives, and how art and tradition, although suppressed, become rallying cries for the people. Oral traditions such as music, poetry and stories push back against the Capitol’s fiery agenda in an epic battle of human perseverance. “SOTR” reveals how we, as the audience, have fallen for Capitol propaganda before; Collins holds a mirror up to show us just how we are like helpless rabbits, tangled up in wire. Once again, Collins challenges us to look at how we live, to question our government and the media we consume. Our current society is separated from the world of Panem by a thin veil that, unfortunately, grows thinner every day. But fire is catching, and Suzanne Collins is holding the flint striker.
Breaking away from metaphor and abstraction, I want to talk about the actual plot, without any spoilers for those of you still waiting on your copies. If you have not bought it yet… What are you waiting for? First, whatever you thought you knew about Haymitch Abernathy, throw it out the window. This novel finally sheds some much-needed light on our alcoholic father figure. Collins’ story explains who he is at his core and how much trauma it took to launch him on the downward spiral of depression that created the character we thought we knew in the main trilogy. Through his eyes, the audience experiences District 12 and Panem in a new light, as the world has grown much more complex since the 10th Hunger Games but still remains a far cry from the 74th games. “SOTR” somehow merges all of the characters and plot points that haunt the narrative together in one place: From the rainbow colors and lively music of the Covey to the fashion and deceit of the Capitol, we encounter some of our most beloved characters from Collins’ other works in ways that we never dreamed of and creates new connections that fans could have never imagined. Besides this new and deeply interesting lore, love and loss are also major themes of the story. Both motifs “Hunger Games” fans are no strangers to, and neither is Haymitch Abernathy. The story of Haymitch and Lenore Dove is familiar yet strikingly soul-shattering. While we know only one victor comes out of the 50th Hunger Games, that does not stop the heartbreak that happens each time the cannon sounds. Even knowing Haymitch’s punishment for his actions in the games does not prepare you for reading it from his point of view. All in all, this novel is beautifully devastating and has imparted a sorrow so deep it touched my pearly white bones, but I will read it again a million times.
Now, I am impatiently waiting for the movie that is set to be released in November 2026. With all of the new insights into the inner workings of Panem that has been revealed in this novel, the movie has the chance to go so wrong but also so right. Roles for “SOTR” are yet to be announced, but I have hope that the casting directors will do the novel justice. Aside from casting, this movie might be the first one in the series to be rated R. The horror and gore in this novel are perhaps the worst of them all, but they are also so crucial to the story that I do not think the movie would be whole without it. Revisiting District 12 with a whole new lens is so exciting, and I am quite sure that when the movie is finally released, you all will be hearing from me again.