(#33) / This Present Darkness / by Frank Peretti / (Book)

Opening

Bibliographic Information:

This Present Darkness / by Frank Peretti

ISBN-13: 978-1581345285 / Crossway Books

p. 384 / $10.08 (Amazon)

1986

Body of Content

Summary: This Present Darkness is the first in a series that numbers two titles.  The story follows the residents of a fictional town, Ashton – and how their lives are a part of a larger supernatural story.  Marshall Hogan is a local newspaper editor who teams up with a local clergyman, Hank Busche.  They both become aware of a developing conspiracy, where a New Age group plots a scheme.  But the story has two layers – as the human-level of events is overshadowed by the spiritual realm – as demonic (evil) angels fight in an eternal struggle against heaven’s (good) angels.  The seamless storytelling follows the narratives of angels interacting with humans – filled with supernatural fights between warring angels – and humans trying to uncover seditious plots of conspiracy – not completely aware of all the angelic action that surrounds them.    

Critique (150-300 words): This Present Darkness is a fictional novel – but it does a great job at creating a full-fledge, literary universe – where the existence of angels not only acts as a premise – but actually propels the story forward.  The author tells his story on two fronts – on the human level of affairs – and on the spiritual level through a myriad of angel characters.  The author sidesteps the issue of deity – for the most part – as God or Jesus is not a character within the novel.  Now, the righteous angels do refer to their actions as serving the wishes of “The Lamb” – but Peretti does provide some literary space for himself – as the angels’ actions are not immutable. 

Peretti creates story arches – where backstories are created – which heighten the suspense elements of the story – as some evil angels have fought righteous angels in past historical contexts.  The reader has the vantage point of witnessing both stories simultaneously.  The character dramas played out among human characters are augmented by angelic hosts battling each other – swords drawn – sweeping through the air and through buildings. 

The novel is an extrapolation of passages from the Bible – and although it is not meant as a theological treaty on systematics, Peretti does create a universe believable if the reader allows for a few base assumptions.  And in that way, Peretti creates a thriller – based upon a human conspiracy mixed with angelic battles that tower above.          

Teaser: A writer and a pastor find themselves in the midst of a political and supernatural thriller.

Information about the Author: Peretti has sold a total of 15 million novels to date – with the two-part Darkness series (This Present Darkness & Piercing the Darkness) accounting for 3.5 million sold copies (Peretti, 2011).  Peretti followed these two titles with other titles in the thriller genre – including Prophet, The Oath, The Visitation, and The Monster.  However, the writer also penned a children series, The Cooper Kids Adventure Series along with a pastoral, nonfiction work titled The Wounded Spirit.

In his personal life, Peretti married his wife at the age of 22.  He performed some touring with a music ministry band in the 1970s.  He later enrolled at UCLA – with interests in English and film writing.  At one point, Peretti helped his father pastor a small church affiliated with the Assembly of God denomination.  In 1983, he began working construction jobs – writing the manuscript for his first novel (This Present Darkness) while working in a ski factory (Peretti, 2011).   

Supplemental Material

Genre: Thriller / Christian Fiction / Adult Crossover

Curriculum Ties: Religion – fundamentalism, angelology

Booktalking Ideas: 1) What biblical passages make the framework for Peretti’s angel-filled universe? 

Reading Level:  While the book mostly falls to Christian markets, adults represent the chief audience.  Many Christian teens, though, certainly enjoyed Peretti’s thriller – though, again, older teens – aged 16-19 – comprise a better audience than younger teens. 

Challenge Issues and Defense: Like the Left Behind novels, Piercing the Darkness has some religious and political overtones that might not treat liberal or multicultural ideals fairly or representatively.  Ultimately, the book is fictional – and consistent within the framework of the universe it creates.  This is another title – with a fair amount of violence and suspense-type horror – that is not meant for younger ages.  Some parents might object to this title residing in a YA collection – and librarians (particularly in the public school system because of the religious overtones) need to be prepared for such confrontations.

Personal Reasons for Inclusion: In an age of Twilight, this title represents a title that many supernatural titles owe homage to – as it literally and (almost unilaterally) created mainstream options for the Christian thriller genre. I read this book when I was 18 years old – and it represents one of my favorite novels.

Last Thoughts

References:

Peretti, F. (2011). Frank Peretti: About [Webpage]. Retrieved from

http://frankperetti.com/?page_id=13

Listening to (Music):

Artist – FM Static / Album – “Dear Diary”  

(#20) / Left Behind: A Novel of the Earth’s Last Days (Novel #1) / by Tim LaHaye and Jerry B. Jenkins / (Book)

Opening

Bibliographic Information:

Left Behind (Novel #1) / by Tim LaHaye and Jerry B. Jenkins

ISBN-13: 978-1414334905/ Tyndale House Publishers/

p. 496 / $10.19 (Amazon)

1995

Body of Content

Summary: A non-religious Raymond Steele is an airplane pilot – married to a Christian wife.  Their children reflect the attitudes of their parents, respectively – the daughter doubts, while the son believes.  When the Rapture happens – an event where believing Christians are taken to heaven, while those left behind must face the final events of history before the end of all things.  Raymond faces a dilemma – finding out first-hand about the Rapture, while flying a plane, as half the passengers vanish.  In the weeks that unfold, a world leader (Nicolae Carparthia) tries to unite those people who remain – and provide some stability to political and economic systems – and provide religious answers to the questions arising from the ramifications of the Rapture.  But as the story unfolds, Steele must decide whose side he will join – and whose side he will resist.     

Critique: The novel is based off various biblical texts – such as the book of Revelation and the book of Daniel – taking them as literal narratives for the eventuality of future events in world history.  Such views – common within dispensationalist circles – offer a view, though, that does not take the biblical texts within their historical contexts.  To extrapolate the texts as future events does not do the original texts justice – and leads to misunderstandings about theology (cf. content) and hermeneutics (cf. methodology).

The issues are complicated and nuanced – but take one major theme as an example.  Dispensationalists take the references to the Antichrist as a historical figure.  The problem is that the biblical texts likely do not support this conclusion.  Several times, the term carries an adjectival function, not a vocative title.  One text highlights the possibility of multiple antichrists (plural). 

Another New Testament text refers to the antichrist standing in the “temple of God” and declaring himself as God.  Writers like LaHaye and Jenkins take this as a reference to a future, evil leader standing in a physical temple.  The problem is that such a Jewish temple complex does not exist in Jerusalem – and in fact, one has not existed since AD 70.  Thus, their theology requires the existence of a reconstructed temple as a prerequisite for such a prophecy.  The problem, though, is that the Greek manuscripts – as that is the original language of the New Testament – contains two words for the term “temple” – one refers to physical buildings (like the Temple in the Old Jerusalem) and the other refers to the metaphorically understanding (such as the temple of one’s own body).  The aforementioned problem text refers to the metaphorical term for temple.

Overall, stronger support in the biblical texts disfavors Lahaye’s “Antichrist” (person) in favor of “antichrist” (spirit of, in general).  The source of LaHaye and Jenkins’ error is the wrong presupposition basis for the book genre of Revelation – which leads to a snowball of hermeneutic mistakes – such as the Rapture, one world government, mark of the beast, and seven-year tribulation period.  Suddenly, the biblical texts become conspiracy novels like Left Behind – instead of providing God’s view about theology and human activity overall.          

Teaser: Find out how an airplane pilot and an investigative journalist team up to beat the Antichrist.

Information about the Author: The book’s authors worked together to formulate the novel and the following (initial) 11 sequels.  Jenkins is a writer by trade, while LaHaye comes from writing and teaching backgrounds within theology.  As such, Jenkins wrote most of the novel(s) – with LaHaye’s framework and notes assisting in the creation of manuscripts.  Outside of the original 12 books in the Left Behind series – the writing duo penned a 13^th book – and 3 prequels – into the series canon.

Both writers have written dozens of books before joining as a team – with Jenkins writing largely sports-related biographies, and LaHaye writing books on family counseling and eschatology.  The Left Behind series hit markets in the mid-1990s through the Aughts and sold millions.  In 2005, Amazon even ranked the duo as 9^th on their author list of most books sold during the e-company’s first 10 years of business (Wikipedia, 2011).

Supplemental Material

Genre: Christian Fiction / Adult Crossover / Apocalyptical

Curriculum Ties: English Literature – dystopian views of future / Theology – dispensationalism, fundamentalism, eschatology   

Booktalking Ideas: 1) “It’s the end of the world – how did the whole thing get started?” 2) Have you ever wondered what would happen if the book of Revelation became a literal narrative?

Reading Level: This is an adult crossover book – some interest by late teens (16-19) – particularly those from certain religious (Christian fundamentalist, evangelical) backgrounds.  

 Challenge Issues and Defense: The book does not have objectionable material (language, sex, etc.), though violence is commonplace.  Further, the novel contains objectionable stances on various religious views and characterization of non-Christians and Catholics.  Ironically, some Christians – from more liberal and moderate positions, or even amillennialists from across various traditions – might take issue with the book on theological grounds as opposed to content issues.  Like other books, its heavy popularity is a merit.  But the book is an adult crossover – which may mean placement in the adult section versus the YA section – based on genre more than anything else.  

Personal Reasons for Inclusion: I have regrettably read too many books in this series.  During my time at an accredited college and (later at) seminary, I realized this book (and series) offers a flawed message.

Last Thoughts

References:

Wikipedia (2011). Jerry B. Jenkins [Webpage]. Retrieved from

http://en.wikipedia.org/wiki/Jerry_B._Jenkins

Listening to (Music):

Artist – Evanescence / Album – “Evanescence (2011)”  

(#5) / Little Brother / by Cory Doctorow / (Book as PDF)

Opening

Bibliographic Information:

Little Brother / by Cory Doctorow

ISBN-13: 978-0765319852 / Tor Teen  

p. 384 / $12.21 (Amazon) – Free (Various Creative Commons Sites)  

Body of Content

Summary: Marcus is a street-smart kid – with a knack for technology.  He lives in San Francisco with his parents.  Marcus loves to skirt the system – routinely skipping school and damaging school surveillance equipment in the process.  When Marcus skips school one day – to join with friends in playing a scavenger hunt type role-playing game – he finds himself in the center of a different story.  Terrorist have attacked San Francisco – and Marcus' world of adolescent innocence shatters – as the destruction of the Bay Bridge and death of thousands of American citizens creates a brave, new world of unprecedented governmental surveillance.  Having been placed into custody for questioning in a secret prison, Marcus and his friends are released back into a city that they no longer recognize.  Marcus decides to fight and subvert the system – a system that may have killed his best friend – as system that tries to keep San Francisco protected from future attacks – and a system that might spell the end of Marcus’ freedom on a more permanent basis.            

Critique: Admittedly, I had difficultly relating to the characters in the novel.  But I found Doctorow’s take on technology both entertaining and realistic.  The book never specifies the year of the events, but the reader is left to the observation that it occurs post 9/11 and very near in the future.

Rightly, numerous mentions of technology contain the very functionality or potential to do what Doctorow suggests in his novel.  Although I do not own an Xbox, the basic premise of the computer and Internet potential is well-known.  I had a good friend in graduate school who read online how to hack the software, and subsequently, made the game console into a personal computer.  What Doctorow suggests – for a next-generation incarnation of Xbox – is creative but also realistic.  Other items such as FastPass, RFID tags, and unprotected wireless signals are part of culture in the here-and-now.   

Doctorow does a masterful job creating a believable futurist version of San Francisco that is not too different from the metro status quo.  Personally, I did not enjoy the novel as much as expected – partially due to his writing style – but his attention to detail is a creative strength when creating a literary universe.      

Teaser: Marcus finds himself in trouble with school administrators almost on a routine basis.  But after an act of terrorism in San Francisco, Marcus may have encountered a completely new kind of enemy.

Information about the Author: Cory Doctorow holds a different pedigree than many other YA writers.  He has extensive background experience in technology and business fields – including a few startup companies that he later sold for profit.  Originally from Canada, he also lives outside the U.S. – now in Britain (Wikipedia, 2011) – perhaps giving him a different vantage point than many American authors.

His novel Little Brother received a fair amount of accolades, including the 2009 Prometheus (Libertarian Futurist Society, 2011).  His overall work have received attention, as Doctorow received the 2007 EFF Pioner Award – choosing to dress rather ceremoniously with a red cape and eyes goggles – an fashion and humorous allusion to a xkcd comic strip depiction of himself (Wikipedia, 2011).  Doctorow is cut from a different literary cloth – as he champions the rights of authors over publishers – particularly vocal for his belief in the legitimacy of file-sharing and licenses related to Creative Commons (Doctorow, 2011).

Supplemental Material

Genre: Thriller / Science Fiction / Dystopian

Curriculum Ties: History – totalitarianism, Patriot Act, Constitution, personal privacy, technology

Booktalking Ideas: 1) In an age of technology and surveillance, how much of Marcus’ life is truly private? 2) Marcus is playing a game of chess against a controlling government – but can he keep one move ahead of Homeland Security – or forfeit more than a game in the process?

Reading Level: While the violence mentioned in the book is not extended, the subject matter – of impeding harm, governmental forces, personal paranoia – are more adult themes than YA.  The age preferences vary – with School Library Journal suggesting grade 10 and up– while Booklist suggests a lower entry level at grade 8 and up (Amazon, 2011).  Boys (more than girls) and persons interested in technology may show more interest than their peers in this book.      

Challenge Issues and Defense: The subject matter does contain some adult themes – with some adult language.  Some parents may find challengeable issues related to sexual mores – with the premarital sex between the main character and his girlfriend.  The best defense for this book stems from its critical success – as it received numerous awards in YA circles. (The book is far from trashy literature).  

Personal Reasons for Inclusion: Though I did not enjoy the book to the same extent as other titles in this genre, Doctorow does a thoughtful job on the topic – succeeding on the time front – on presenting a very near-future version of a dystopian, cautionary tale.   

Last Thoughts

References:

Amazon. (2011). Little Brother [Webpage]. Retrieved from http://www.amazon.com/Little-Brother-

Cory-Doctorow/dp/0765319853

Doctorow, C. (2011). Little Brother [Webpage]. Retrieved from http://craphound.com/littlebrother/

download/

Libertarian Futurist Society. (2011). Press releases [Webpage]. Retrieved from http://lfs.org/

            releases.htm

Wikipedia. (2011). Cory Doctorow [Webpage]. Retrieved from http://en.wikipedia.org/wiki/

Cory_Doctorow

Listening to (Music):

Artist – Brooke Waggoner / Album – “Fresh Pair of Eyes”  

(#2) / Catching Fire / by Suzanne Collins / (Book)

Opening

Bibliographic Information:

Catching Fire / Suzanne Collins

ISBN-13: 978-0439023498 / Scholastic Press

p. 391 / $9.99 (Amazon)

Body of Content 

Summary: Catching Fire picks up the story of Katniss and Peeta, as they return to their families in District 12.  Now residing in the homes once reserved for victors, the two young protagonists must come to terms with all that happened in the Games – and all that might unfold in the future.  As Katniss and Peeta travel to the other districts – as part of the scheduled victors’ campaign – something is different and unscheduled.  The Empire holds a fragile peace – as the districts express an uneasiness of the burdens placed on them.  The President of Panem lobs threats against Katniss – her family – and her district.  Katniss expresses a desire to leave – to run into the forest and flee whatever events might unfold next.  Caught between feelings and loyalties – between both Gale and Peeta – Katniss faces a decision.  But as the lottery for the Quarter Quell draws near, this year’s Games could change the lives of more than just the lonely heroine.     

Critique: Catching Fire contains several themes, but it does a fine job expanding on the class warfare between the districts and the Capitol, which are peppered throughout the first book.  The novel’s narrative structure allows for this opportunity, as Collins spends more time providing background details regarding the world of her dystopian canon.  The protagonists travel to the other districts – an opportunity that, in itself, few people from District 12 will ever experience.  The reader finds out that many of the districts perform laborious, tedious work – filled with harsh, bitter, and scarce lifestyles.  The Capitol – and to some extent, the wealthy districts like 1 and 2 – however – enjoy a different lifestyle.  The Capitol lives a life of luxury – filled with advanced technology, food delicacies, and lavish attention to fashion trends.

The Capitol is responsible for the gulf between the two classes – for the annual Games are weapons against sedition – showing the Empire’s power to take the districts’ children at will – and a threat to subjugate the districts with the same relentlessly – if the districts do not play their role as subject.  These districts finance and supply all the luxury enjoyed by the Capitol.  Much like the Roman Empire, the Capitol is Rome – and the districts are Roman territories.  From their lavish dinner parties to their application of futurist tech, the Capitol is wrapped in the easy life, while the districts spin toil.  The theme is more evident in Catching Fire – and it helps build the tension in the novel.  Overall, it makes the struggle faced by the heroes more believable. 

While the second book is slightly paced differently than the first book, this is a welcomed exchange.  Collins could have taken the easier road and written a true sequel – an episodic addition – one termed The Hunger Games 2.  Instead, she continues with the canon’s narrative – and all the decisions and framework set in motion within the first novel have consequence.  Collins uses the class warfare to provide realistic implications for the story and her characters.  Catching Fire is still a thriller, but more elaborate storytelling allows the novel to enter the drama genre.   

Teaser: Set after the events of The Hunger Games, Katniss and Peeta return to District 12 – as victors of the Games.  But there is a scent of rebellion still in the air.

Information about the Author: (See entry #1 – for information regarding Suzanne Collins)

Supplemental Material

Genre: Science fiction / Dystopian / Thriller / Drama

Curriculum Ties: History – Historical conspiracies / Comparison to the Roman Empire  

Booktalking Ideas: 1) Can Katniss and Peeta escape certain death for a second time? 2) Katniss is a catalyst – but what exactly is she a catalyst for? 3) As the Empire’s secret veil lowers, more of the other districts becomes known to the readers – what are we to make of District 13? 

Reading Level: Grade 7 up – Catching Fire embodies the same style and similar content to its predecessor.  School Library Journal believes the readership level is the same for both – even with “a truncated version of the Games” (Amazon, 2011). (See entry #1 for related details).  

Challenge Issues and Defense: Much like the first book in the series, Catching Fire contains a fair amount of violence.  However, the books are structured differently.  Catching Fire deals less with the Games – only about a third – compared to two-thirds of The Hunger Games.  As a book defense, the reader is again left with redemptive impressions regarding the violence – that there is social commentary – that the book does not just contain violence for the sake of violence.

Personal Reasons for Inclusion: After reading the first book for LIBR 265, I purchased the second book in the series within a week – and I plan on reading the final book once the semester finishes.  I’ve quickly become a fan of this series.

Last Thoughts

References:

Amazon. (2011). Catching Fire [Webpage]. Retrieved from http://www.amazon.com/Catching-Fire-

Second-Hunger-Games/dp/0439023491/ref=sr_1_1?ie=UTF8&qid=1322005100&sr=8-1

Listening to (Music):  

Artist – Elevator Worship / Album – “For the Honor”

(#1) / The Hunger Games / by Suzanne Collins / (Book)

Opening

Bibliographic Information:

 The Hunger Games / Suzanne Collins

ISBN-13: 978-0439023528 / Scholastic Press

p. 384 / $5.39 (Amazon)

Body of Content

Summary: Katniss is a teenage girl with adult responsibilities – caring and providing food for her family – in a fractured world set in a distant, dystopian future.  Over her small district – and 11 other districts – an authoritative government (Panem) keeps rebellion in check and fear alive by a vicious competition – the Hunger Games – a televised pageantry of violence.  All children between the ages 12 and 18 must enter the Game’s lottery – but only two are chosen – one male, one female – from each district.  Horror reaches Katniss’ heart – upon hearing her sister’s name called at the lottery.  As soldiers begin dragging her sister onto the stage, Katniss volunteers to take her place.  A childhood friend by the name of Peeta joins Katniss on stage.  Soon the Hunger Games will begin – twenty-four competitors will enter the Arena – but only one can leave alive. What alliances will be forged? What strategies will players invoke? Who will live to see their family again? Who will die in the opening moments? One thing is certain: this year’s Hunger Games will be like no other.     

Critique: The book contains themes relating a fair amount of violence.  But the dark premise is the bulk of the actual tension.  While the action is well-paced, most battle scenes are not extended – reaching completion within a few pages.  It is the “waiting” both as a reader and for the main characters that creates the suspense – of not knowing whether the turn of a page will result in the death of another person.  And death is certainly a consistent presence throughout the book.  But Collins deals with the issue with “gloves on” – as adult writers would venture into more graphic details of the action sequences.  

Still, the book is not only about violence – but about how the characters must deal with impeding death and potential loss of their self-identities.  Peeta is an enigma – both to Katniss and the reader.  But after the completion of the story, the character arc is complete – and with more certainty, the following remark holds veracity: Peeta is the anti-Career.  Peeta does participate in the Games, but not to the same extent of the other characters.  Placed in a situation where violence is the anticipated action, Peeta continually runs counter to the Games and the Empire – through a subterfuge of alliances, camouflage into the natural surroundings, and inherent trust in Katniss.  Even when the young girl died at the campfire (the opening night of the Games), the reader is left with the possibility that Peeta did not kill her. 

A telling moment – a point of foreshadowing – occurs before the Games – when Katniss and Peeta sit on the rooftop of the training building.  The movie adaption expresses Peeta’s desire – very well – saying, “I keep wishing that I could think of a way to show them that they don’t own me – that if I’m going to die, I want to still be me” (IMDB, 2011a).  Within the Games, Peeta’s actions are slight, shadowy, and subtle – but they are rebellious, seditious, and dangerous – aimed squared at an unforgiving system and a brutal government.  Peeta embodies a form of passive resistance – not to the same degree as Jesus Christ, Gandhi, or Martin Luther King, Jr. – but nevertheless, he is fighting creatively and intentionally against a context that requires violence.  Katniss embodies aspects of this approach (cf. burial of Rue, suicide pact), but Peeta stands as the character who subtlety tries to remind Panem of the inhumaneness of the Games – and the quiet resilience of the human spirit.

Teaser: Katniss enters the Arena – facing the strong likelihood of death. Will the Games turn Katniss into a killer? Or can Katniss turn the Games into something else?

Information about the Author: Suzanne Collins lives in Connecticut with her husband and two children.  Earlier in her life, Collins enrolled at a high school in Birmingham, Alabama – a school with a strong fine arts program.  Later in her education, she received a degree from New York University.  The degree reflects her writing interest, as the degree was a Master of Fine Arts in “Dramatic Writing” (Wikipedia, 2011). Collins wrote a few books before The Hunger Games, but that trilogy easily put Collins on the map – both for name recognition and money reasons.  She earned $10 million dollars for the 2010 year alone (Bercovici, 2011) – the year helped by strong sales number of the first two books and the release of the series’ final book, Mockingjay.  Further, a major film adaption of the first book hits theaters in March 2012.

Before novels, Collins worked heavily within the television industry – writing for numerous Nickelodeon shows – including story editor and/or writer duties on “The Mystery Files of Shelby Woo”, “Clarissa Explains It All”, “Santa, Baby”, “Generation O!”,  and “Wow! Wow! Wubbzy!” (IMDB, 2011).  While The Hunger Games is aimed at a YA audience, these earlier writing duties comprised intentions towards younger audiences.    

Supplemental Material

Genre: Science fiction / Dystopian / Thriller

Curriculum Ties: Philosophy – existentialism in the midst of difficult decisions, circumstances   

Booktalking Ideas: 1) Will Peeta and Katniss lose their lives in the Competition? Will they lose their innocence?

Reading Level: Grade 7 up – deemed by School Library Journal (Amazon, 2011). The interest level, though, may reach as low as grade 5 and easily extends into high school grades.  Such is the case – based upon the age of the competition’s fighters – 12 through 18.  Even with a “rough” premise, the book is still within YA territory, as the heroes do not commit many killings. If this title were a true adult book, then the protagonists might take on more the actions of the Careers – or have more ambiguous natures/motives.     

Challenge Issues and Defense: The book is basically free from any language or sexuality.  However, some parents may take issue with the violence and adult themes – as the very premise throws children into a kill-or-be-killed environment. The best defense is noting that Collins does not condone the violence – but that she actually provides thoughtful commentary through the underdogs’ actions, which speak against the brutality and unfairness of the government’s games.

 

Personal Reasons for Inclusion: I read the book in a three-day period – finding it (not only) a well-paced thriller – but also a book with a subtle and meaningful message about violence and passive resistance.

Last Thoughts

References: 

Amazon. (2011). The Hunger Games [Webpage]. Retrieved from http://www.amazon.com/Hunger-

Games-Suzanne Collins/dp/0439023521/ref=sr_1_1?ie=UTF8&qid=1321950575&sr=8-1

Bercovici, J. (2011). “The world’s highest-paid authors [Webpage]. Retrieved from

http://www.forbes.com/sites/jeffbercovici/2011/08/17/the-worlds-highest-paid-authors/2/ 

Internet Movie Database (IMDB). (2011a). “The Hunger Games” [Movie Trailer]. Retrieved from

            http://www.imdb.com/title/tt1392170/

Internet Movie Database (IMDB). (2011b). Suzanne Collins (III) [Webpage]. Retrieved from

http://www.imdb.com/name/nm1056741/

           

Wikipedia. (2011). Suzanne Collins [Webpage]. Retrieved from

http://en.wikipedia.org/wiki/Suzanne_Collins

Listening to (Music): 
Artist – Soundgarden / Album – “Superunknown”