Hunger Games Dystopian Quotes

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How do you bear it?" Finnick looks at me in disbelief. "I don't, Katniss! Obviously, I don't. I drag myself out of nightmares each morning and find there's no relief in waking up." Something in my expression stops him. "Better not give in to it. It takes ten times as long to put yourself back together as it does to fall apart.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
That what?" "That I knew i misjudged you. That you love him. I'm not saying In what way. Maybe you don't know yourself. But anyone paying attention could see how much you care about him," he says gently.
Suzanne Collins (Mockingjay (The Hunger Games, #3))
That’s the funny thing about guns; even untrained hands can feel powerful using them. But take that gun away and you’re left with nothing but a coward whose only skill is how to blindly pull a trigger.
Jennifer Wilson (Rising (New World #1))
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J.K. Ellem (Octagon: An electrifying page-turning dystopian thriller (Octagon Series Book 2))
I was in a place I had never visited before and I didn’t want to ever visit again. I was in hell, or so I thought…
J.K. Ellem (Octagon: An electrifying page-turning dystopian thriller (Octagon Series Book 2))
Our lives aren't just measured in years. They're measured in the lives of people we touch around us". ― Peeta Mellark.
Suzanne Collins (Catching Fire (The Hunger Games, #2))
Twenty years? No kidding: twenty years? It’s hard to believe. Twenty years ago, I was—well, I was much younger. My parents were still alive. Two of my grandchildren had not yet been born, and another one, now in college, was an infant. Twenty years ago I didn’t own a cell phone. I didn’t know what quinoa was and I doubt if I had ever tasted kale. There had recently been a war. Now we refer to that one as the First Gulf War, but back then, mercifully, we didn’t know there would be another. Maybe a lot of us weren’t even thinking about the future then. But I was. And I’m a writer. I wrote The Giver on a big machine that had recently taken the place of my much-loved typewriter, and after I printed the pages, very noisily, I had to tear them apart, one by one, at the perforated edges. (When I referred to it as my computer, someone more knowledgeable pointed out that my machine was not a computer. It was a dedicated word processor. “Oh, okay then,” I said, as if I understood the difference.) As I carefully separated those two hundred or so pages, I glanced again at the words on them. I could see that I had written a complete book. It had all the elements of the seventeen or so books I had written before, the same things students of writing list on school quizzes: characters, plot, setting, tension, climax. (Though I didn’t reply as he had hoped to a student who emailed me some years later with the request “Please list all the similes and metaphors in The Giver,” I’m sure it contained those as well.) I had typed THE END after the intentionally ambiguous final paragraphs. But I was aware that this book was different from the many I had already written. My editor, when I gave him the manuscript, realized the same thing. If I had drawn a cartoon of him reading those pages, it would have had a text balloon over his head. The text would have said, simply: Gulp. But that was twenty years ago. If I had written The Giver this year, there would have been no gulp. Maybe a yawn, at most. Ho-hum. In so many recent dystopian novels (and there are exactly that: so many), societies battle and characters die hideously and whole civilizations crumble. None of that in The Giver. It was introspective. Quiet. Short on action. “Introspective, quiet, and short on action” translates to “tough to film.” Katniss Everdeen gets to kill off countless adolescent competitors in various ways during The Hunger Games; that’s exciting movie fare. It sells popcorn. Jonas, riding a bike and musing about his future? Not so much. Although the film rights to The Giver were snapped up early on, it moved forward in spurts and stops for years, as screenplay after screenplay—none of them by me—was
Lois Lowry (The Giver)
The trouble with colorblind ideologies in text and culture is that by not noticing race, writers and other creatives do the work of encoding it as taboo. While silence and evasion around race in dystopian science fiction is 'understood to be a graceful, even generous, liberal gesture', implying the inevitability of a postracial future, this silence also has the effect of confusing readers.
Ebony Elizabeth Thomas (The Dark Fantastic: Race and the Imagination from Harry Potter to the Hunger Games (Postmillennial Pop, 13))
With Star Trek, Gene conceived a vision of the future that was unashamedly optimistic: effectively a blueprint for what humanity could become should it eventually succeed in evolving beyond its superstitious, xenophobic adolescence. The show celebrated and glorified the virtues of human ingenuity, scientific advancement, and moral progress. It’s a vision that, to me, is sorely lacking in today’s entertainment landscape. In our era of Hunger Games–flavored dystopian science fiction, there is a conspicuous absence of such worthy models for the future. This should be cause for some concern.
Edward Gross (The Fifty-Year Mission: The Complete, Uncensored, Unauthorized Oral History of Star Trek: The First 25 Years)
Dystopian fiction isn't a prediction of the future but an interpretation of the present.
Suzanne Collins (The Ballad of Songbirds and Snakes & The Hunger Games Mockingjay By Suzanne Collins 2 Books Collection Set)