An international bestseller and the inspiration for a blockbuster film series, Suzanne Collins's dystopian, young adult trilogy The Hunger Games has also attracted attention from literary scholars. While much of the criticism has focused on traditional literary readings, this innovative collection explores the phenomena of place and space in the novels--how places define people, how they wield power to create social hierarchies, and how they can be conceptualized, carved out, imagined and used. The essays consider wide-ranging topics: the problem of the trilogy's Epilogue; the purpose of the love triangle between Katniss, Gale and Peeta; Katniss's role as "mother"; and the trilogy as a textual "safe space" to explore dangerous topics. Presenting the trilogy as a place and space for multiple discourses--political, social and literary--this work assertively places The Hunger Games in conversation with the world in which it was written, read, and adapted.

An international bestseller and the inspiration for a blockbuster film series, Suzanne Collins's dystopian, young adult trilogy The Hunger Games has also attracted attention from literary scholars. While much of the criticism has focused on traditional literary readings, this innovative collection explores the phenomena of place and space in the novels--how places define people, how they wield power to create social hierarchies, and how they can be conceptualized, carved out, imagined and used. The essays consider wide-ranging topics: the problem of the trilogy's Epilogue; the purpose of the love triangle between Katniss, Gale and Peeta; Katniss's role as "mother"; and the trilogy as a textual "safe space" to explore dangerous topics. Presenting the trilogy as a place and space for multiple discourses--political, social and literary--this work assertively places The Hunger Games in conversation with the world in which it was written, read, and adapted.

This classic yet controversial Japanese novel is available for the first time in English--a high-octane thriller about senseless youth violence that is a potent allegory of what it means to be young and survive in today's dog-eat-dog world.

For 21st-century young adults struggling for personal autonomy in a society that often demands compliance, the bestselling trilogy, The Hunger Games remains palpably relevant despite its futuristic setting. For Suzanne Collins' characters, personal agency involves not only the physical battle of controlling one's body but also one's response to such influences as morality, trauma, power and hope. The author explores personal agency through in-depth examinations of the lives of Katniss, Peeta, Gale, Haymitch, Cinna, Primrose, and others, and through an analysis of themes like the overabundance of bodily imagery, social expectations in the Capitol, and problem parental figures. Readers will discover their own "dandelion of hope" through the examples set out by Collins' characters, who prove over and over that human agency is always attainable.

First in the ground-breaking HUNGER GAMES trilogy. In a vision of the near future, a terrifying reality TV show is taking place. Twelve boys and twelve girls are forced to appear in a live event called The Hunger Games. There is only one rule: kill or be killed. But Katniss has been close to death before. For her, survival is second nature.

'To eat is to build upon our collective story. We use food to say, again and again, who we are.' Eating with My Mouth Openis food writing like you've never seen before: honest, bold, and exceptionally tasty. Sam van Zweden's personal and cultural exploration of food, memory, and hunger revels in body positivity, dissects wellness culture and all its flaws, and shares the joys of being part of a family of chefs. Celebrating food and all the bodies it nurtures,Eating with My Mouth Open considers the true meaning of nourishment within the broken food system we live in. Not holding back from difficult conversations about mental illness, weight, and wellbeing, Sam van Zweden advocates for body politics that are empowering, productive, and meaningful. 'This is writing as sustenance. The book's moments of deep insight and intimacy, all its quiet revolutions, are answerable – as is the case with the most enduring nonfiction – to two gods only: truth and nurture.' — Maria Tumarkin, author of Axiomatic 'Eating with My Mouth Open feels like being gifted the most glorious odd-box from the Farmers' Market: inside are delicious, unnamable fruits and shining vegetables. Van Zweden's writing is at once both nourishing and thorny, generous and eclectic, sumptuous and piquant. This book marks the arrival of a fresh voice in Australian nonfiction.' — Rebecca Giggs, author of Fathoms: The world in the whale 'Amazingly attuned to those tender points where food tangles with family, trauma, illness and mental wellbeing – Sam van Zweden describes everyday food moments with clarity and compassion in a way that made me fall in love with food all over again.' — Ruby Tandoh, author of Eat Up! 'In this excruciating time of bougie food-for-cultural-capital, of 'body-positive' rah-rah, of food-loving, body-shaming confusion, Sam van Zweden cuts through the bullshit, arguing that food is for love, and that if we love food, we must love the bodies that food nurtures. Van Zweden is a masterful caretaker of the bodies that have been left out.' — Ellena Savage, author of Blueberries 'Eating With my Mouth Open is a beautiful book: heartfelt, intelligent and full of love.' — Fiona Wright, author of The World Was Whole and Small Acts of Disappearance

Monster studies, dystopian literature and film studies have become central to research on the now-proliferating works that give voice to culture-specific anxieties. This new development in scholarship reinforces the notion that the genres of fantasy and science fiction call for interpretations that see their spaces of imagination as reflections of reality, not as spaces invented merely to escape the real world. In this vein, Displacing the Anxieties of Our World discusses fictive spaces of literature, film, and video gaming. The eleven essays that follow the Introduction are grouped into four parts: I. “Imagined Journeys through History, Gaming and Travel”; II. “Political Anxieties and Fear of Dominance”; III. “The Space of Fantastic Science and Scholarship”; and IV. “Spaces Natural and Spaces Artificial”. The studies produce a dialogue among disciplinary fields that bridges the imagined space between sixteenth-century utopia and twenty-first century dystopia with analyses penetrating fictitious spaces beyond utopian and dystopian spheres. This volume argues, consequently, that the space of imagination that conjures up versions of the world's frustrations also offers a virtual battleground – and the possibility of triumph coming from a valuable gain of cognizance, once we perceive the correspondence between spaces of the fantastic and those of the mundane.