“Sunrise on the Reaping,” by Suzanne Collins, the newest book in “The Hunger Games” series, gives readers a different perspective on the story of Haymitch Abernathy, a former victor of the Hunger Games and series’ protagonist Katniss Everdeen’s mentor. While the second book, “Catching Fire,” gave us the basics of what Haymitch’s experience was, “Sunrise on the Reaping” offers a more in-depth look at the past of Panem and criticism of its politics.
Just like in the other prequel novel, “The Ballad of Songbirds and Snakes,” this book comes with a selection of quotes that inform the themes. Included are ones from George Orwell and William Blake relating to propaganda and two from David Hume exploring the notions of inductive reasoning and implicit submission. Each of these ideas features prominently in the plot and inform every character and plot action.
The dramatic irony of the situation is what really makes this book work, in a similar vein to “The Ballad of Songbirds and Snakes.” We the readers know how this will end up, and it’s going to be a tragedy. But the precise mystery of the “how” and “why” do a great job of keeping you hanging on every word.
The exploration of the use of propaganda by the Capitol takes on a new context in this book. Propaganda has always been a part of the series from book one. The Hungers Games are explicitly a show of the Capitol’s power to demonstrate the futility of resistance from the Districts. “Mockingjay” saw characters on both sides of the war making and using propaganda to rally support from Panem’s citizens. But “Sunrise on the Reaping” explores even more of the deliberate ways government propaganda is used misinform people to maintain the status quo. Even if you know the actual truth, what can you do with it in the face of a world unable and unwilling to look beyond the veneer they’re presented with? What ultimately becomes the truth and what do you do with it? Everything that happens can be manipulated and used for Capitol propaganda, no matter what the tributes do. Nowhere is this clearer when Haymitch himself realizes, “I am trapped into doing [President Snow’s] bidding in the Hunger Games, the best propaganda the Capitol has.”
In a way, this book also uses the concept of “panem et circenses,” or bread and circuses. First brought up in “Mockingjay” to explain the rationale behind how the Capitol operates, the Latin phrase attributed to Juvenal has ties to the theming of the book. The people in this world only get their bread and circuses when they implicitly submit. And when they reject submission, they lose access and are thus punished and propagandized to serve as a warning. When you’re faced with a decision, knowing what could happen to you, the possible choices are staggering. And even when you don’t submit, what do you do next when your choice is rendered moot by propaganda?
There’s an interesting usage of younger versions of several side characters in this book. Aside from Haymitch, we see President Snow, previous Hunger Games victors that featured in “Catching Fire,” future Gamemaker Plutarch Heavensbee, Effie Trinket, the Covey and even Katniss’s parents. It does feel like a bit of an indulgence to see some these characters again, but they all have vital roles in shaping the plot and how Haymitch acts within the 50th Hunger Games. They all lay down foundations of future events we see come to pass in original trilogy.
The infectious glamour of the Capitol once again makes an appearance. It’s dazzling to behold, just like in the first book, making it easy to forget or even ignore the truth of the circumstances the characters are in. From the growing opulence of the Capitol, to the spectacle it’s made out to be, you get suckered in to being a passive watcher, accepting the tributes being in a literal life-and-death scenario because it’s so fabulous. Even we the readers are not immune to the Capitol’s bread and circuses.
The repeated mention of the sun rising on the reaping and whether characters can prevent it from coming to pass did come across as trite the more it was mentioned. With each subsequent use, it felt less and less like a realistic thing someone would say. It began to feel like the narrative was hitting you over the head with one of the featured Hume quotes and just a reference to the book’s title. Despite this annoyance, it still seems to be an unattainable idea to a jaded Haymitch when we the readers know that it is inevitable, again playing into the dramatic irony central to this prequel novel.
“Sunrise on the Reaping,” much like its predecessors, gives readers a lot to think about while exploring more of this dangerous yet alluring world. The series has always sought to criticism totalitarian governments and what part we as average citizens can play in their rule. Collins’ writing style remains sharp as ever, bringing out the humanity and depravity of the story’s events. It’s a great read for anyone, and best experienced with your brain turned on.
Lionsgate is currently producing a film adaptation of the book, set to be released Nov. 20, 2026.
