Grace Ostrosky, Asst. Arts & Life Editor–

Disclaimer: This story contains spoilers for “Sunrise on the Reaping” by Suzanne Collins.

Like many college-aged students (and general dystopian literature enjoyers), “Sunrise on the Reaping” by Suzanne Collins was my most anticipated book of 2025. I read the original trilogy, which consisted of “The Hunger Games,” “Catching Fire,” and “Mockingjay,” during middle school, when my sixth-grade teacher required every student to keep a reading log. I then read the first prequel, “The Ballad of Songbirds and Snakes,” toward the end of 2020, after almost a year filled with isolation and fear. A little less than a year ago, “Sunrise on the Reaping” was announced for publication and, since then, I have re-read the books and re-watched the movies in preparation for the prequel that was set to follow Haymitch Abernathy, Katniss Everdeen’s mentor in the first book. 

However, similar to the other “Hunger Games” books, “Sunrise on the Reaping” was not sunshine and rainbows. 

Collins once said in an interview that she only ever writes when she has something to say. And the message I gathered from the book is so extremely prevalent, considering today’s political climate. 

From early interviews, Collins established that discussion surrounding the usage of propaganda is a major component of her new book. Before the book even begins, Collins uses quotes from famous speakers, including George Orwell, William Blake, and David Hume. From David Hume, she stated, “‘Nothing appears more surprising to those, who consider human affairs with a philosophical eye, than the easiness with which the many are governed by the few; and the implicit submission, with which men resign their own sentiments and passions of those of their rulers.” 

Collins, like many others, is discontent with a system in which the top few govern over the masses, and that the masses do not ultimately have a say over how they are governed. 

The book opens on the day of the Reaping for the 50th Hunger Games, an annual spectacle where children between the ages of 12 and 18 are reaped to fight to the death in an arena. There are 24 children reaped, one boy and one girl from each of the twelve districts. The games, as established in previous books by Collins, are a brutal form of retribution for a past rebellion put on by the Capitol to maintain their power and control the population. In “Sunrise on the Reaping,” it is a Quarter Quell, which means there is a twist on the rules to ensure memory of the rebellion is fresh. In these Games, forty-eight children would be reaped, now two boys and two girls from every district.

Haymitch’s experience getting into the Games were different. Unlike the other children, he was not reaped. Instead, he is merely chosen by the Peacekeepers while he is protecting his girlfriend, Lenore Dove, after they get intertangled when the original boy who was reaped attempts to flee and is shot as a result.  

Haymitch and three other children, or “tributes,” from District 12 are taken to the Capitol for training before the Games. Together, they become allies with one another and other districts, although none of them are expecting to make it through the Games. 

Plutarch Heavensbee, who shows up in the original trilogy, is a member of District 12’s media team…or their propaganda team. As a citizen of the Capitol, he assists in the exploitation of children and He admits this: “From the Capitol’s perspective, the Games are the best propaganda we have. You tributes, you’re our stars. You carry it out. But only if we control the narrative. Don’t let us,” (page 197).

The tributes from District 12 constantly said they wanted to “paint their own posters,” refusing to be used as propaganda by the Capitol. Their deaths were not to be in vain, they sought to switch the narrative to showcase the true brutality of the games. 

Once the Games began, they move pretty quickly. Tributes are elimated, and the other tributes from District 12 die. Soon, it is only Haymitch and two other tributes. 

Haymitch, in response to receiving a gift of milk from a potential sponsor, spirals. His internal monologue is panicky: “It’s from [President] Snow, this milky death…I am completely in Snow’s power and his to manipulate. His puppet. His pawn. His plaything. It is his poster I am painting. His propaganda. I am trapped into doing his bidding in the Hunger Games, the best propaganda the Capitol has,” (page 322). 

Momentarily, he loses hope. But still, he tries to destroy the arena when he is the last tribute standing, an act he believes will be his last.

After the Games, he is severely injured and realizes his attempt to expose the Games was in vain. When he is displayed to the Capitol as the victor, a recap is shown. The recap paints the Games differently then how they actually occurred. 

“The audience…has embraced this version, cheering and jeering on cue. Their lack of discernment transforms the recap, validating it as truth,” (page 345). Haymitch comes to the conclusion that the citizens of the Capitol are so desensitized to this violence–perhaps even find it pleasurable or fun–that they will not questions the lies they are fed. Though the actual Games have ended, there is still propaganda thrown at both the citizens of the Capitol and the districts. 

Even after 47 children died during the Games, there is no revolt, there is not even questioning of the morals of their society. Children will continue to be reaped, forced to pay for the rebellion they did not even participate in. Children will be used as propaganda. 

The propaganda of the Games is very representative of the current political climate in which we are living. In recent years, we have been taught to fear journalism. The government is increasingly restricting freedom of the press through censorship, intimidation, and legal pressure. Public trust in news organizations is decreasing due to misinformation and perception of bias.

Despite this fear of journalism, there is no question that children are still used as vehicles for propaganda. The idea that we need to “protect the children” by limiting freedom of the press through censorship and restriction is a form of propaganda. Limiting the rights of select groups for America to become a great “Christian nation” is propaganda. 

“Sunrise on the Reaping” reminds us to hold our government accountable for the decisions they make, prioritize finding truth in the media, and that only we can paint our posters–our voices cannot be taken from us if we refuse to be silent. 

Grace Ostrosky ‘28 is a journalism and creative writing double major from Cleveland.