Pop Psych 101: How the Hunger Games got Popular

American mythologist Joseph Campbell had the theory that all stories come from the same blueprint. That blueprint is called the Monomyth, and it serves as a broad template that a wide range of fiction uses. In the Monomyth (also known by some as the hero's cycle), a hero embarks on a journey, gets trained by a wizened elder, almost dies but gets reborn and eventually returns home victorious with some kind of gift with which to share with the rest of mankind. Some other things happen between those landmark events, but that's the gist. Sound familiar? It should.

"The Hunger Games" hits all the marks. Katniss finds herself forced out of her town by the Games, finds training from the grizzled Haymitch, almost dies a couple of times over the course of the novel but emotionally takes a major hit after the death of Rue and eventually emerges victorious to bring back to her people hope and the spirit of rebellion.

That's sort of interesting, that Suzanne Collins drew on the Monomyth blueprint either on purpose or subconsciously and found some massive popularity. I say "sort of interesting" because, I guess by definition of the Monomyth, this idea has existed and been popular for ages. Just look at the last couple decades of entertainment: we've had "The Matrix," "The Lord of the Rings" and "Star Wars" spin the Monomyth into box-office gold. The "Harry Potter" franchise launched Scholastic's book fair empire.

So the question: why aren't we all tired of the Monomyth by now? It's the same reason John Peel never got tired of The Fall, even after they released 30 albums from the same blueprint. The Monomyth is always different; the Monomyth is always the same.

Here's my theory on why things get popular. Every once in a while, something comes along that's just similar enough to stuff we've already seen that we can easily recognize and enjoy it, but just different enough to be interesting and unique without being alienating. "Star Wars" did this well. It didn't really bring any wild new ideas to the sci-fi/fantasy table, so we could all enjoy it pretty easily. But in its brilliant editing, great special effects and massive budget, it brought a level of polish at the time unseen among space operas. It was the same story that we all already liked, but a couple innovations made it appear completely new.

"The Hunger Games" harkens back to Greek myth. As I've previously argued, the general rise and fall of the narrative doesn't do anything too new, but that's good; people can easily process it and enjoy it. But it updates that narrative for the 21st century by introducing elements of reality television. That's the twist that makes "The Hunger Games" seem completely fresh and visionary, when it facts it's a very well-executed and crowd-pleasing version of a story we've seen for thousands of years.

Food and The Hunger Games

In Suzanne Collins’ The Hunger Games, food is uncertain. In Most of the Districts, many of the citizens are hungry and malnourished. Katniss wondered “what it must be like, to live in a world where food appears at the press of a button? How would I spend the hours I now commit to combing the woods for sustenance if it were so easy to come by” (65)? The book obviously considers food to be a symbol of wealth or class with a name such as “The Hunger Games.” In the Capitol, delicious, decadent food is everywhere, all they needed to do was push a button. This is sharply contrasted to the lives the citizens in the Districts live. Katniss must illegally hunt for food in the woods to feed herself and her family, and Rue sees many people from District 11 be beaten to death for trying to steal some of the agriculture crops. Starvation is a real threat for the people in the districts, and if they did not learn to fend for themselves, they would die.

The ability to gather their own food like Rue, or to kill squirrels like Katniss is what differentiates people in the districts to the people of the Capitol who merely have to push a button. We can see this difference in some of the names Suzanne Collins chose for the major characters. They are wild plants that one would only know about if they had to understand how to survive by feeding themselves like many did in the districts. Katniss is also the name of a very hardy plant that is an adaptable survivor, apt for the character. Primrose, Katniss’ sister, is also the name of a wild plant. Primrose the plant, however, is not hardy or adaptable. And neither Primrose the character or primrose the plant is at The Hunger Games. Finally, Rue. Rue also is the name of a wild plant. This plant has been seen as a symbol of freedom in literature, it is also featured in cultural and religious ceremonies. Rue from District 11 died so that Katniss could start a rebellion in the name of Freedom from the Capitol.

Katniss and the Mockingjay

When Katniss Everdeen bravely volunteers to participate in the Hunger Games, her beginning strategy is merely to survive for her family. However, as Katniss personally watches tributes fall at the hands of the Capitol, she begins to subtly undermine the Gamemakers to make a fool of the Capitol. Katniss association with the Mockingjay allows her to become a symbol of resistance, and throughout the games, she shows the Capitol that they can’t control her spirit.

Katniss’s personal token of a Mockingjay pin serves as a reminder of the Capitol’s faults. Katniss explains the birds’ significance when she says, “They’re funny birds and something of a slap in the face to the Capitol” (42). When Madge gives Katniss the pin, it’s an act of friendship. However, when the pin becomes Katniss’s token, it becomes a statement of rebellion, reminding her of the Capitol’s faults.The Capitol disregards the pin’s power, and as Cinna explains,  “It barely cleared the review board. Some thought the pin could be used as a weapon, giving you an unfair advantage” (145). Ironically, as Katniss progresses throughout the games, her association with the Mockingjay becomes one of her greatest weapons.

When Katniss subtly rebels throughout the game, she comes to represent the Mockingjay pin that she wears. For examples, when she decorates Rue’s lifeless body with flowers, she highlights the innocence and beauty of a child they killed. She explains, “I want to do something, right here, right now, to shame them, to make them accountable, to show the Capitol that whatever they do or force us to do there is a part of every tribute they can’t own. That Rue was more than a piece in their Games. And so am I” (236-237). Additionally, Katniss’s victory, just like the Mockingjay’s existence, becomes “a slap in the face to the Capitol” when she forces the gamemakers to declare both her and Peeta champions. She states, “Without a victor, the whole thing would blow up in the Gamemakers’ faces. They’d have failed the Capitol” (344). Her entire victory reminds the Capitol of their failures, causing Katniss to resemble the Mockingjay.

Appearances in The Hunger Games

When it comes to the Hunger Games, appearances are everything.  From the moment the reaping begins to the countdown at the Cornucopia, how each tribute looks has the chance to determine whether they survive or perish once they enter the arena and blood begins to spill.

            Everyone dresses up for the reaping.  Gale tells Katniss to “wear something pretty” (14), and she, her mother, and Prim all wear nice clothes.  Katniss washes her hair, and her mother gives her one of her old dresses to wear, which is special because Katniss’s mother’s old clothes “are very precious to her” (15).  The reaping is where Effie Trinket—the character who is, arguably, the most obsessed with looks—is introduced.  In typical Capitol fashion, she is decorated in unnatural colors: a “scary white grin” and “pinkish hair” that “must be a wig” (17-18, 20).  Effie’s obsession with looks and fashion play a large part throughout the novel, but most of that happens later, after the reaping.  Upon volunteering, Katniss speaks harshly to Prim because she doesn’t want to cry (23).  The people at the reaping—the people of the district as well as officials such as Effie—all dress and act in order to keep up appearances because they are being watched.  Everything they do is seen by the Capitol and the other districts.  The show is just beginning.  And the reaping is the first of many times when Katniss must force herself to keep up appearances upon being thrust into the spotlight by volunteering to enter the Hunger Games.

            The most prominent examples of appearances and their importance occur in the time leading up to the games, when all of the tributes are basically on show for the people watching the Games, especially people in the Capitol.  This is when Cinna is introduced.  He is the other person most concerned with appearances, behind Effie.  His concern is different from Effie’s, however, because he is more selfless and concerned with the tributes, whereas Effie tends to focus on herself and how the appearances of her tributes affect her and her appearance.  Before the games, Katniss is forced—mostly by Effie and Haymitch—to change her looks in order to better her chances of getting sponsors and, in turn, surviving in the arena.  Cinna plays the greatest role in this by turning her into “the girl who was on fire” (67).  With the burning outfits, Katniss and Peeta (through the work of Cinna) leave a very important impression on the viewers.  They call attention and drama to themselves, making sure that everyone will remember them.  This puts them in the spotlight for later interviews.  It makes them known.  And that is what gets sponsors.

            And then, before going into the arena, Cinna places the finishing touch on Katniss’s outfit: the mockingjay pin.  This pin symbolizes Katniss and her home.  It is a very personal addition to Katniss’s appearance, and is more for herself than for other people (which it eventually comes to be).

            Appearances draw attention and sponsors in the Hunger Games, and can mean the difference between life and death.  That is why people such as Effie and Cinna know how to play the game of the Capitol, using appearances for purpose of entertainment as well as of safety and survival.

Reality TV vs. The Hunger Games

In The Hunger Games, Suzanne Collins makes several comparisons between the dystopian society that Katniss lives in and our world today. Through the novel, Collins offers an in-depth analysis on the effects of reality TV in the contemporary world. Collins draws several parallels between the televised Hunger Games and the reality TV that we see today. Similar to reality TV, the Hunger Games is heavily staged.

By staging the games, the Gamemakers (or in the contemporary world- producers) hold massive power in determining what the audience sees and feels.  For example, at one point in the games, the Gamemakers start throwing fireballs at the tributes because, “the audience in the Capitol will be getting bored, claiming that these games are verging on dullness” (173). By throwing fireballs at the tributes, the Gamemakers hold the power to incite excitement among the audience. Similarly, in the contemporary world, the producers can stage a scene among reality TV stars to draw more viewership and increase interest.

However, often in the novel, Collins emphasizes that the tributes also have a lot of power in effecting the audience. For example, during the games, Katniss tries to heal Peeta so that they can both win the games. While Katniss takes care of Peeta, she starts pretending to be in love with him so that they can get more supplies from Haymitch and the sponsors. She states, “If I want to keep Peeta alive, I’ve got to give the audience something more to care about. Star-crossed lovers desperate to get home together” (251). Katniss pretends to be in love with Peeta in order to get more support from the audience and the sponsors. In this part of the novel, Katniss holds immense power in what the audience sees or feels.

By analyzing the effects of reality TV in The Hunger Games, Collins incites an interesting debate on who holds the most power in what the audience sees. In both reality TV and The Hunger Games, there are times when the producers/Gamemakers hold the most power. But, there are other times when the stars/tributes hold the most power. Though the balance of power is debatable, it is important to realize that both parties hold massive power in shaping what the audience sees and feels. 

Exploiting the Sponsors

Throughout the novel Katniss is carefully choosing the way she displays herself, her actions, and watch she says, knowing that the whole of Panem is watching her. After being forced to watch the Hunger Games every year for her whole life Katniss has picked up on important strategies which tributes have executed over the years. From the moment she volunteers to take her sister’s place in the games Katniss has complete control of her emotions, forcing herself not to cry no matter how upsetting it is. She explains that “when they televise the replay of the reapings tonight, everyone will make note of my tears, and I’ll be marked as an easy target. A weakling. I will give no one that satisfaction” (23). This realization that her every move will be watched, analyzed, and possibly used against her pushes Katniss into survival mode. Once she has entered this focused zone Katniss is able to hide her true emotions regarding most things, and conforms to whichever character best suits her goals. Even as Katniss says goodbye to her mother and sister she asserts, “I cannot afford to get upset, to leave this room with puffy eyes and a red nose. Crying is not an option. There will be more cameras at the train station” (34). The fact that Katniss knows this without any coaching from Haymitch or Effie shows the extent to which all characters in the novel twist their actions and emotions as a result of the knowledge that they are constantly on television for all of Panem to see.

Once Katniss is in the arena her exploitation of the audience grows to any even higher degree. Katniss knows that in order to survive and be able to go home to her mother and sister, she must charm the capitol citizens watching her every move, so that they will sponsor her and send her gifts when she needs them. When Katniss learns that Peeta is working with the careers her immediate thoughts include, “how does this affect the betting odds? Will we lose sponsors? Do we even have sponsors? Yes, I feel certain we do, or at least did” (165). Katniss’ only focus is on survival, and without the cameras I do not believe that Katniss would be acting the way she does within the arena. As she hunts Katniss even remarks, “I’m glad for the cameras now. I want sponsors to see…that I’m a good bet” (164). Katniss specifically shows off her good hunting skills, exploiting the cameras so that possible sponsors are able to see how resourceful she is. Katniss’ careful conformity to the character the capitol wants her to play is the reason she acts how she does throughout the novel, and is ultimately the reason she is able to survive and win the Hunger Games.

Rue

            Everything Katniss does throughout the book The Hunger Games she does for her sister Prim and fellow tribute Rue, who reminds her of Prim. Rather than worrying about herself because she was about to enter the Hunger Games, the only thing Katniss is worried about is how her sister will survive without her. In her last moments she has to talk to her mother and Prim are spent “telling them all the things they must remember to do, now that I will not be there to do them for them” (34). Even during her time in the Games she is consistently thinking of Prim and how she has to survive and not die a terrible death because Prim would then have to watch it on TV. There is nothing that Katniss cares about more than her sister, and she chooses to create an alliance with Rue “because she’s a survivor, and I trust her, and why not admit it? She reminds me of Prim” (201).

            I think that Katniss decided to team up with Rue because she makes her feel like she’s back at home. Rue knows certain ways to heal injuries like Katniss’ mother and sister do, and she is similar to Prim in age and mannerisms making Katniss want to protect her. Having Rue calms Katniss’ nerves and makes her feel more comfortable because it’s like having a piece of home with her in the Games. Rue changes Katniss’ way of thinking by telling her about District 11 and their rules, which she then determines are worse than the ones in District 12. Her death is the first time Katniss openly defies the Capital by decorating Rue’s body with flowers as a symbol, knowing that the Capital would have to show it because they show all the bodies before they are taken away, and it is a turning point for her way of thinking. Before Rue’s death Katniss didn’t believe she could win the Games, but afterwards she set out to win the Games to avenge Rue’s death. This resulted in a new found determination to prove to the Capital and everyone watching the Games that the tributes lives do matter and that a girl from District 12 could win the Games despite all odds. The change in Katniss resulted from one little girl from District 11 who gave her a new perspective and reminded Katniss of her sister.

Lowood's role in creating the Jane Eyre we all know and love

You probably have fond memories of your early to mid-childhood education. Maybe not middle school, but that was partially your own fault. When I think of elementary and middle school, I think of long recesses, pizza day, and those drawings girls would do of one another’s names. As I read about Jane’s experiences at Lowood, my mind wondered to nostalgic memories of good ol’ Holy Rosary, not that there were many similarities between my school and hers. Christian schools appear to have changed quite a bit since the 1820’s, as has education in general. Jane is clearly the recipient of cruel treatment at Lowood, but the school arguably plays the greatest role in shaping her character.

Jane enjoyed Lowood and its inhabitants, certainly more so than those at Gateshead. In particular, she developed an attraction for Helen Burns and Miss Temple. Throughout the novel Jane grows into something of a clone (too soon?) of Miss Temple, though more cynical and less compassionate. After Jane’s confession that she found Adele to be untalented, I found it difficult to imagine her showing the same compassion Miss Temple showed to the dying Helen Burns. Despite differences in personality, Jane still exhibits the same skill and learnedness she so admired in Miss Temple when she first arrived at Lowood as a young girl. Bessie is delighted to find Jane more talented than Georgiana and Mrs Reed, and Mr. Rochester finds Jane intellectually stimulating enough to decidedly ignore rigid social boundaries. Jane becomes the ideal Lowood woman, though with a much fierier temper than Brocklehurst would approve of.

Although Jane’s rebelliousness was born at Gateshead, it took a new shape at Lowood. Jane developed an intolerance for injustice to others while developing a friendship with Helen Burns. Madame Pierrot’s unjust criticism and punishment of Helen ignited fury in Jane. Jane’s uneasiness with Helen’s treatment was the first instance of Jane getting angry over the treatment of someone else. At Gateshead, Jane learned to stand up for herself and push back against oppressors. At Lowood, Jane applies the same rebellious passions to the mistreatment of others.

Jane’s talents relative to Georgiana and Adele may cause one to wonder whether charity school could have done wonders for the 1820’s aristocratic elite. Lowood was unambiguously stricter and more demanding than Adele’s education, and even more so than John Reed’s (though any handicap was his mother’s fault for enabling bad behavior). If Jane had grown up in Gateshead as one of Mrs Reed’s own, it is hard to imagine her growing up to become the sophisticated, well-educated woman she does, even with her independent streak. She may have turned out as uninspiring as Georgiana, though it seems much more likely for her to have taken the route of Eliza. The other characters in the novel show how immensely Jane benefitted from her time at Lowood, and it may be safe to say that the novel’s aristocratic characters would have benefitted from foregoing private tutoring (so long as they could persevere through tuberculosis and consumption of course).

The Key to Relationships: Passion and Judgment

Charlotte Bronte represents her ideal relationship through her depiction of Jane’s various relationships throughout Jane Eyre. Fundamental to any relationship are the elements of passion and judgment; one ignites, while the other controls the flames. Seemingly contradictory, Bronte proves that the balance of passion and judgment in relationships is necessary for a healthy relationship in which the independence of both parties is maintained.

            Detailing his past relationships with superficially attractive mistresses, Rochester speaks only of the beauty of the women and the passion he felt for their exterior qualities. For instance, Rochester describes his first wife, Bertha Mason, by stating, “All the men in her circle seemed to admire her and envy me. I was dazzled, stimulated: my senses were excited; and being ignorant, raw, and inexperienced, I thought I loved her” (352). “Excited,” “stimulated,” and “dazzled” all indicate the act of overwhelming arousal. Thoroughly subdued by the intense passion sparked by Bertha’s beauty, Rochester’s passion was quickly ignited. The couple hastily solidified their relationship with marriage without satisfying the other important part of the relationship: the cooling element of judgement. Without judging the significant aspects of the relationship not founded upon passion, such as the couple’s compatibility, Bertha quickly loses herself to the passion of the relationship, subsequently losing her independence to Rochester. Bertha’s descent into madness represents the overly passionate relationship between her and Rochester. Unable to care for herself, Bertha becomes completely dependent upon Rochester, losing her independence.

            In contrast to the insanity-inducing, passionate relationship with Bertha, Rochester’s relationship with Jane at the end of the novel depicts both passion and judgement. Rochester recognizes Jane as “poor, obscure, plain, and little,” superficial characteristics that hardly arouse any passion. However, Rochester is impassioned by Jane’s other qualities. Rochester states, “I am bound to you with a strong attachment. I think you good, gifted, lovely: a fervent, a solemn passion is conceived in my heart… kindling in pure, powerful flame” (263). Rochester’s appreciation for Jane’s non-superficial qualities succeeds in igniting a passion that is controlled because it is based upon love rather than solely physical attraction. Asking Jane to marry him, Rochester asserts, “My bride is here because my equal is here, and my likeness” (294). This kind of balanced relationship creates an equality in which Jane is able to maintain her independence.