Have you ever noticed how things in life all seem to happen at once? Like the day I had a pediatrician appointment for my daughter, then had a class, then faced a 5-hour drive to Virginia (in the rain)—until the skylights in my house started pouring rain on my head.
Everything at once. You all could tell your own version of the story. That’s life.
That’s also what makes compelling fiction. Piling one complication on top of another so fast that the protagonist can’t breathe—and raising the stakes each time.
You start small and build up: A guy and his wife buy a house. Then they find out she’s pregnant—with twins. She gets pregnancy complications and has to quit her job. Then he gets fired for a mistake someone else made. He starts doing something slightly illegal to make money. Then it gets more illegal. Then he gets in way over his head, only to find out that there’s about to be a terrorist attack sponsored by his employers. He snitches to the FBI but his identity is leaked. Now he’s on the run, but the bad guys grab his way-too-pregnant wife to lure him out. He finally gets to her, but there’s a bomb ticking down. They have time to run—but she goes into labor.
You get the idea.
I’m currently devouring the House of Night series by P.C. Cast and Kristin Cast. I read the first one as a recommendation by our local librarian, and got hooked. The books are addictive, not just because of the strong voice of the protagonist Zoey and the well-drawn individuality of the other characters, but because Zoey’s life is a never-ending series of problems that simply get worse and worse. Every time she (and the reader) think that maybe she finally has things under control, that maybe things will start to go her way, that she can take a break and maybe even relax for a second, something else heaps on top of the burden she’s already carrying. Zoey’s problems start off normal—overbearing step-father and drunken boyfriend issues—and eventually (in Book 4) ramp up to saving the world.
There are nine books in the series (so far).
Zoey’s already trying to save the world in Book 4. What worse problems can she possibly deal with in the next 5 books?
I don’t know, but I’m sure going to read on to find out!
Foreshadowing Reality
I bet Suzanne Collins didn’t know she was an oracle. That when she wrote her Hunger Games trilogy, she foretold a revolution that no political expert in the world saw coming.
While watching the Arab revolution unfold, I was suddenly struck by how similar the circumstances of the two revolutions were. I found five eerie parallels.
Revolution was “impossible”
In the Hunger Games trilogy, the Capitol of Panem ruled all, controlling everything about the 12 outlying Districts, including supplies of food and medicine. While the Capitol glutted itself, people starved in the Districts. The Capitol considered the people of the Districts too weak and too cowed to ever rebel.
An Arab democratic revolution seemed equally impossible. The regimes were too powerful. The societies were too oppressed. There was no freedom of speech, freedom of the press, freedom to assemble. The people had been starved and terrified into unwavering compliance. The youth had known no other way of life and would therefore not even think of demanding a change.
Unbearable conditions
In Panem, the chasm between the rich in the Capitol and the poor in the Districts was vivid. Every day, every year, the poor were forced to watch the rich grow richer. The rich grew ever more lavish and wasteful, while the poor sunk deeper into the depths. The most glaring reminder of their servitude to the Capitol was the Hunger Games, where a boy and girl from each District was sent to the Capitol to fight to the death—a sacrifice as punishment for a past rebellion.
In the Arab autocracies, the money stayed in the hands of the dictator and his family and cronies. They grew incredibly wealthy while many of their citizens struggled to put food on their table. Instead of focusing on bringing down rampant unemployment and bringing up the standard of living for the entire country, the ruling class focused on lining their pockets at the expense of their people. While no literal Hunger Games existed, many people sacrificed their dreams and their children’s dreams in order to survive, and many disappeared at the hands of brutal secret police.
The power of media
One key to the Capitol’s continued hold over its people was that they controlled all communications. The Districts saw only what the Capitol wanted them to see, and the citizens in the Capitol never ever saw what really went on in the Districts. Katniss Everdeen’s participation in, and subsequent winning of, the Hunger Games gave her a mass platform from which the message of revolution could spread. When the rebels managed to hijack the communications network, they were able to show the truth to the Capitol citizens, rather than the lies the government told.
Most of the Arab autocracies had tightly controlled state-run television and radio, and also limited cell phone and Internet access when it suited them. Technology eventually broke through the blackout, though, as the youth used social media to find each other, form protest groups, and get the word out to the world about what was truly happening in the protests.
Going viral
In the Hunger Games trilogy, Katniss’ mockingjay symbol became the symbol of the revolution. All the Districts, not just her own, adopted it, using it as a secret sign of loyalty to each other and of defiance to the government. Katiniss did not initially wear it as a symbol of anything except her home, but the mockingjay spread virally to become the symbol to bind the rebels together.
Through the phenomenon of “going viral” allowed by the Internet, the protests that followed Tunisia’s revolution used many of the same symbols, particularly the same chants and musical anthems. The information on how to stage successful protests and avoid the police also went viral, and was adapted for use in many of the other Arab countries.
Unwitting catalysts
Katniss Everdeen never wanted to be a revolutionary. She just wanted to survive the Hunger Games and go home. In the end, though, her desperate act of survival sparked a revolution that led to the fall of the Capitol.
Mohamed Bouazizi never intended to start a revolution, either. The Tunisian street vendor simply could not cope with his life and its many frustrations and humiliations anymore. In a desperate act that was his only means of being heard, he set himself on fire—and his death ignited his countrymen.
Perhaps many revolutions follow these patterns—I am no expert. All I know is that Suzanne Collins’ Hunger Games trilogy was a brilliant, searing look at what violence does to children and humanity. It also turned out to be a pretty prescient blueprint of a revolution yet to come.