© Breands & FilmsThe Hunger Games – book cover and movie poster
This past weekend I caught
The Hunger Games: Catching Fire at my local theater. The movie is based on the second part of a dystopian trilogy written by Suzanne Collins. In Collins's fictional world known as Panem, a despotic government rules over all with a violent iron fist.
There is a strict separation between the political class and the rest of the populace, with the latter working in slave-like conditions to support the former. The story focuses on protagonist Katniss Everdeen and her struggle to protect her loved ones while surviving the tyranny of her brutal overlords.
Throughout Catching Fire, the subject of revolution is paramount. Since the first instalment of the series when Katniss bested her oppressive dictators in the highly-publicized, annual fight-to-the-death tournament, she has become a symbol of agitation to the people. They look to her as a chink in the government's armor - a sign that tyranny is not immortal but can be damaged.
The plebs and their desire for freedom results in riots in the streets with vicious crackdowns from Orwellian-named "peacekeepers" who maintain tranquility with the bloodied end of truncheons. At one point during Katniss's victory tour, an older gentleman raises his hand in defiance of the regime and whistles the popularized tune of revolution. He is summarily executed on the spot while the crowd that attempts to protect him is beaten handily.
The act of violence drew a startled and winced response from the movie audience. It was a demonstration of the horribly destructive nature of tyranny. There was no question as to the evilness of Panem's dictatorial government. The line between enemy and hero was straight and untainted.
Stories such as the Hunger Games are wonderful things because they spark what conservative statesman Edmund Burke called the "moral imagination." In his famed
Reflections on the Revolution in France, Burke chided the Jacobin revolutionaries for endeavoring to paint "the decent drapery of life" and the "moral imagination" as "ridiculous, absurd, and antiquated." Russell Kirk expanded on this phrase and
defined it as the "power of ethical perception which strides beyond the barriers of private experience and momentary events."
Comment: What if speaking the truth is paramount to a request to be fired from a position where one has ready access to the minds of the populace? What if, no matter how outraged, the public opinion on what they want to hear from their televisions is ignored or forcibly silenced? What if, what if, what if?