Tomi Adeyemi is Nigerian American author who also doubles up as a creative writing coach. She is best known for the critically acclaimed title Children of Blood and Bone the first in a trilogy named Legacy of Orisha. Adeyemi went to Harvard University from where she graduated with an English literature honors degree. Soon after she got a fellowship and moved to Salvador in Brazil to study West African culture and mythology. She made her name when her debut novel Children of Blood and Bone claimed a seven figure book advance deal and a movie deal to boot. The novel is currently in development by Temple Hill/Fox 2000 and is being produced by Marty Bowen and Karen Rosenfelt. When she is not writing her young adult novels she loves to teach her 4500 aspiring authors on her blog or watch Scandal.
Tomi Adeyemi is the middle
…show more content…
From the likes of Octavia Butler and Samuel Delany, Tomi Adeyemi’s work is one of the leading novels in the great movement for Afrofuturism that works African traditions into award winning fantasy and science fiction. The novels explore possibility and social power which shape their characters and drive their plots to provide both instruction and thrall. In structure the novel follows the likes of Harry Potter by J.K. Rawlings or the Hunger Games by Suzanne Collins. In fact Adeyemi has asserted that the Hunger Games were some of her major inspirations for the world building in her own Children of Blood and Bone. The novel was written as a response to the racist backlash against the Hunger Games which had been demonized for casting black actors in some major roles. As such Adeyemi set out to write a novel that had an all-black cast in Orisha that is unmistakably non Western in tradition. Tomi Adeyemi also gives a twist to the tale of individual drama that had become a staple in the post-Ferguson
Heather O’Neill, an inspiring author, wrote Lullabies for Little Criminals that guides readers through the prostitute life of Baby. It instantly became a bestseller worldwide in 2007. O’Neill is a Canadian novelist, poet, short story writer, screen writer, and an essayist. She was born in Montreal and was raised in a French family. Due to poverty in her lower class neighbourhood, young adults would not graduate high school or go to university. Young women would easily become prostitutes and live the rest of her life with an older adult male. However, O’Neill was lucky to attend McGill university, a renowned university that accepts higher class students.
The article also talks about how the hunger games draws the children. Rea, Steven. A. A. Rea. “The Hunger Games: A fantasy film reflecting reality”. Inquirer Movie Critic.
As we see David Metzenthen about to accept yet another award on his latest book, we feel it necessary to review other titles this author has produced. Published in 2003, the best-selling novel ‘boys of blood and bone’ is a highly-commended book receiving an honor award from the ‘The Children’s book council.’ It is also selected nationwide as a year 10 curriculum novels. Although this impressive list looks appealing, the actual content of the novel is sadly not. Being a duel narrative, the author uses war and contrasting modern day to express the meaning of relationships in adolescent lives. Less prevalent values in the book are honor, mate ship and the acceptance of responsibility. This shows the potential to be a great influence on young lives
Love and hope, together are a timeless literary thematic duo, which continue to inspire countless variations and sub-genres of romance literature. For the last many centuries, romance as a genre, is arguably the most popular of all narratives. However, the theme of love often takes presentences and overarches other thematic interpretation of stories. So why then are people seeking romance in the literature they ready? Suzanne Collins wrote The Hunger Games with the intent to introduce her young adult readership to a number of politically charged themes. Although Collins's work is acknowledged for successfully presenting themes of sacrifice, versions of reality, and power, her audience conversely identifies with the debatable sub-them of love. Social forums, such as the Official Hunger Games Facebook Website exposes an insider's perspective of sort, which reveals public perceptions and interpretations of Collins's work. Even though the purpose for the fan-website built around The Hunger games is to provide a discussion space. Participant's discussions however, unintentionally reveal a...
Analyzing “How to Read Literature like a Professor” is easy, but on the other hand, to analyze “The Bonesetter’s Daughter” is a consuming task. The difficulty doesn’t lie in the grammar or the structure, but in employing the skills employed by Foster’s book. An unskilled reader would assume that Amy Tan’s novel: The Bonesetter’s Daughter, is just another novel written for entertainment purposes. To an untrained reader, there seems to be no author’s intent to use literary devices that would contextualize the deeper meaning that is usually found in fiction, mythology, and folklore. Instead the novel would seem nothing more than entertainment, but for a reader that isn’t just reading but also searching through the text for the literary devices
When Gary Ross’ 2012 adaptation of Suzanne Collins’ famous novel ‘The Hunger Games’ exploded on screens, it was received as an action-packed, thrilling story of survival, determination and over-coming corruption. Audience’s watched in equal parts awe and horror as Katniss was thrust into Panem’s battle arena and fought for justice, family and friendship. However, if we as an audience think more critically about the film; if we think beyond the wild costumes, gripping action and skilful performances, we can see that the story explores complex philosophical ideas that strongly relate to the experiences of humanity in the real world.
As human beings, we thrive to find the meaning of our existence and also the truth. In the books and movies, The Hunger Games trilogy, the very heroic character Katniss Everdeen is on a quest to find truth. As she peels back the layers of lies that swaddle her world, she finds truth within herself and everything around her. To reflect on the novels and films, we must look at the principles of axiology and also examine the plot, characters and how they react to each situation; for reflecting on “the girl on fire” we must study the grounds of epistemology with her own identity. The whole story starts off with the day of the reaping when Prim, Katniss’ sister is selected to enter the Hunger Games, a game created by the government at the time to keep the society scared. One boy and one girl between the ages of 12 and 18 from each district are selected by an annual lottery to participate in the Hunger Games, an event in which the participants must fight to the death in an outdoor arena controlled by the Capitol, until only one individual remains.
Suzanne Collins has, through her writings, used great imagery to expose the meaningful side of ‘The Hunger Games’, the side that is not all about what takes place in the arena. The Capitol’s rule over the districts, the reality-show part of the Hunger Games and the Mockingjay pin are all fragments of deeper meanings that create the basis of all that the story is. Suzanne Collins has depicted the country of Panem as a place overruled by a large city, known as the Capitol. The Hunger Games is apparently a means to keep peace and a fair punishment for the rebellion of the districts, where district 13 was obliterated in the mess. However, Collins has spun this interpretation around and unveiled a different perspective – that The Hunger Games is
It has often been said that there is nothing new under the sun. In this vein, authors across all literary genres often borrow themes and plot from the stories of long ago. Many of those authors choose to borrow from the rich mythology of the ancient Greeks. Suzanne Collins has been asked on numerous occasions where the idea for The Hunger Games originated. She readily admits that the characters and plot come from Greek mythology and more specifically, from Theseus and the Minotaur (Margolis 30). One familiar with both both stories can easily recognize the identical framework upon which each of these stories are built. Both Theseus and Katniss Everdeen, Collins’ heroine, volunteer to go into battle for their respective homelands, they both fight beasts of strange origin, and they are both brave in battle and emerge victorious, but it is the uniqueness of the characters that makes each story appropriate for the time period and audience to which it belongs. Collins modernizes the classic hero of Theseus by changing his gender, his motivations and altering his selfish personality, and by doing these things she creates a heroine that better resonates with today's audience of young adults.
When looking at the facts, it is evident that novel is widely immersed in a dystopian society that bonds references to Greek and Roman mythology and the deeper meaning to the characters. Suzanne Collins utilized symbols to show how The Hunger Games is more than a novel about child war, but more as an overview as to the possibilities of a world that depends on the decisions we make as a society.
In our Society when you don't follow the rules, you become an outcast to the rest of the society. Suzanne Collins’ novel series, The Hunger Games criticizes our society and its demands for people of specific genders to act in certain ways and become certain things. Stereotypes concerning gender are prevalent in our society and all over the world. However, The Hunger Games gives a very refreshing tone of “mockery” to these stereotypes. Katniss Everdeen isn’t your typical 16 year old girl, and neither is Peeta Mellark a typical 16 year old boy, especially when they are fighting everyday just to survive. The Hunger Games is a work of social commentary, used to convince us that there can’t and shouldn’t be any defined “roles” based on gender. A mixture of “stereo-typical” gender roles within a person and their actions is what people need just to survive in our world that is changing every day.
Murty, Govindini. "Decoding the Influences in "The Hunger Games"" The Atlantic. The Atlantic, 26 Mar. 2012. Web. 25 Nov. 2013.
As human beings, we thrive to find the meaning of our existence and also the truth. In the books and movies, The Hunger Games trilogy, the very heroic character Katniss Everdeen is on a quest to find truth. As she peels back the layers of lies that swaddle her world, she finds truth within herself and everything around her. To reflect on the novels and films, we must look at the principles of axiology and also examine the plot, characters and how they react to each situation; for reflecting on “the girl on fire” we must study the grounds of epistemology with her own identity. The whole story starts off with the day of the reaping when Prim, Katniss’ sister is selected to enter the Hunger Games, a game created by the government at the time to keep the society scared. One boy and one girl between the ages of 12 and 18 from each district are selected by an annual lottery to participate in the Hunger Games, an event in which the participants (or "tributes") must fight to the death in an outdoor arena controlled by the Capitol, until only one individual remains.
“Hunger Games” can be seen as a text with an authoritative and an undermining class, displaying the Marxist Literary theory in this aspect.
Buchi Emecheta’s literary terrain is the domestic experience of the female characters, and the way in which these characters try to turn the table against the second-class and slavish status to which they are subjected either by their husbands or the male-oriented traditions. Reading Buchi Emecheta informs us of the ways fiction, especially women’s writing, plays a role in constructing a world in which women can live complete lives; a world that may provide women with opportunities for freedom, creativity, self-expression, friendship and love. Welesley Brown Lloyd believes that; “of all women writers in contemporary African literature Buchi Emecheta of Nigeria has been the most sustained and vigorous voice of direct feminist protest” (35)