Q: You weave action, adventure, mythology, sci-fi, romance, and philosophy throughout The Hunger Games. What influenced the creation of The Hunger Games?
A: A significant influence would have to be the Greek myth of Theseus and the Minotaur. The myth tells how in punishment for past deeds, Athens periodically had to send seven youths and seven maidens to Crete, where they were thrown in the Labyrinth and devoured by the monstrous Minotaur.
Even as a kid, I could appreciate how ruthless this was. Crete was sending a very clear message: “Mess with us and we’ll do something worse than kill you. We’ll kill your children.” And the thing is, it was allowed; the parents sat by powerless to stop it. Theseus, who was the son of the king, volunteered to go. I guess in her own way, Katniss is a futuristic Theseus.
In keeping with the classical roots, I send my tributes into an updated version of the Roman gladiator games, which entails a ruthless government forcing people to fight to the death as popular entertainment. The world of Panem, particularly the Capitol, is loaded with Roman references. Panem itself comes from the expression “Panem et Circenses” which translates into “Bread and Circuses.”
The audiences for both the Roman games and reality TV are almost characters in themselves. They can respond with great enthusiasm or play a role in your elimination.
I was channel surfing between reality TV programming and actual war coverage when Katniss’s story came to me. One night I’m sitting there flipping around and on one channel there’s a group of young people competing for, I don’t know, money maybe? And on the next, there’s a group of young people fighting an actual war. And I was tired, and the lines began to blur in this very unsettling way, and I thought of this story.
Q: The Hunger Games is an annual televised event in which one boy and one girl from each of the twelve districts is forced to participate in a fight-to-the-death on live TV. What do you think the appeal of reality television is—to both kids and adults?
A: Well, they’re often set up as games and, like sporting events, there’s an interest in seeing who wins. The contestants are usually unknown, which makes them relatable. Sometimes they have very talented people performing.
Then there’s the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically—which I find very disturbing. There’s also the potential for desensitising the audience, so that when they see real tragedy playing out on, say, the news, it doesn’t have the impact it should.
Q: What do you hope readers will come away with when they read this book?
A: Questions about how elements of the book might be relevant in their own lives. And, if they’re disturbing, what they might do about them.