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Stories That Change Us
A lively discussion between four friends and authors as they breakdown the most popular fiction from the last century. Join us as we identify the key aspects of storytelling, character development, and social analysis that have caused these stories to resonate through the decades and, in doing so, help novice and seasoned writers craft bestselling fiction of their own.
Stories That Change Us
Episode 11: The Hunger Games by Suzanne Collins
Few YA novels manage to weave modern issues so flawlessly into a story that equally engages children and adults, but The Hunger Games by Suzanne Collins stands out for that very reason. Collins masterful use of subtle subtext, world building that compels plot and tension, and a cast of lovable yet deeply troubled characters allows this Dystopian tale of youth gladiatorial games to transcend from grisly and irrelevant to contemplative and epic.
Moderated By: Kat Lewis
Question: what is a story that has changed your life?
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Welcome friends to the 11th episode of the Stories That Change Us podcast, where we evaluate and analyze bestselling fiction in the hopes that we ourselves will be able to write bestselling fiction. My name is Kat Lewis, and I am a author who writes thrilling women's fiction. And I'm here with some of my fabulous author friends, and we're just going to round table and introduce ourselves.
Laurel Thomas:Great. I'm Laurel Thomas. I write redemptive fantasy.
Micah Leydorf:And this is Micah Leydorf.
Melissa Grace:I'm Melissa Grace. I write inspirational fiction for the general market.
Kat Lewis:Fabulous. And we are in the middle of our series where we take fabulous books that have equally fabulous movie adaptations. And our poison today, you guys, is the one, the only The Hunger Games. So for those of you who do not know, The Hunger Games is a 2008 dystopian young adult novel written by American author Suzanne Collins. It is written from the perspective of 16 year old Katniss Everdeen, who lives in a future post apocalyptic nation resembling North America. And as a reminder of a failed rebellion, each District is forced to submit a child between the ages of 12 and 18 to fight to the death in a event called the Hunger Games. So, just a few facts. By this point the Hunger Games has been around since 2008. I believe that the first film came out in 2012. So this should be a household name. Spoiler alert, you've had plenty of time, almost 10 years, you guys, to get on the Hunger Games train. So between the three book trilogy and the four movie series, I would say that this is one of the most successful film franchises of modern times. Just a few facts for you. For one the Hunger Games books have sold over a hundred million copies. That's crazy. It was a 50, 000 copy first book print. So for all the authors in the room who are pursuing traditional publishing, you know how stellar that is. It's lucky, you're lucky to get 10, 000 copy print, right? Your first run. So that's insane. Within 18 months, the Hunger Games sold over a hundred thousand copies. The book series collectively has won over a hundred awards. Movie stats for you guys. It's the 14th highest grossing movie in America of all time.
Micah Leydorf:That is really remarkable.
Kat Lewis:That is shocking.
Micah Leydorf:That is. Cause I mean, it's a YA, right? It's a young adult novel. Like we did the Godfather last time, which is, like huge, one of the all time best. But you don't usually put those two in the same boat. And yet that it's the 14th highest of all time.
Kat Lewis:That's a lot. That's a lot. That's a lot. And they project that it made over 700 million at the box office. Insane, insane. And just interesting, you think about how does an author come up with this idea of gladiatorial games for children, right? Apparently this is her active social commentary about the wars in Iraq. Just interesting how she's processing these things and this is what she comes up with this series, the Hunger Games. So let's just, let's just dive right on in. So first question for us to consider is"what is your favorite quote of this novel? What's a quote that stands out to you as an excellent example of tension, author's voice, or character development?"
Micah Leydorf:So this is Micah, and I was going to just throw out just a really well known one. But I think again, sometimes the ability to create those quotes that everyone can remember is when Katniss, says, I volunteer as tribute. And I think that makes her a sympathetic character and a likable character. Sacrifice for another person. So we can overlook a lot of her flaws and as authors, we talk about a lot of times the save the cat moment where the person does the thing that they save the cat. It's like, Oh, okay. This is a good guy. This tells me this is what happened early in the book. So there's mine.
Kat Lewis:I think that's a great example, Micah, because they very quickly established in the books that this is a destitute area of the world. And so it'd be very easy for it to just be like, every man for themselves. But that's not, that's the heart that she comes to us. With as she comes to us with, no, I'm going to go, I'm going to go to battle for my sister. And if I die, I die. But at least it wasn't her. So that's a great, that's a great quote, Micah.
Melissa Grace:Because, and this is Melissa, because that is what her character is all about, is taking care of her family. I mean, she loved her dad so much and he was killed, and she just took on his mantle of provider.
Laurel Thomas:I mean, that shows the spunk of Katniss. Also, they were starving to death. Her mother was in probably a clinical depression, unable to move, barely able to breathe. And so Katniss, we see the beginning of the heroism of her character because she refuses to You know, her sister, Primm, was starved. Right. And it's for Primm, which has become so important all the way through.
Kat Lewis:What else? What other examples of quotes that stood out to you guys?
Laurel Thomas:Well, you know, in Lord of the Rings, it's Sam. Frodo's, yeah, he's the main character, but Sam is the hero. And to me, Katniss is the main character, but Peeta is the hero. And they're talking about going into the arena for the first time. They're up on the roof of the train. And he said, I just hope that I don't lose who I am. And Katniss looks at him like, what? This is about survival. In fact, she's still like maybe all this niceness is just a game on Peeta's part to manipulate me and to get me into a weak place. But Peeta on the other hand is saying, I hope this doesn't change me. I hope that I don't become,, a brutal killer. Out of, out of this circumstance. So, to me, that's an incredible indicator of his character. Even though he's quiet. He's certainly, I don't know, is he as handsome as Gale? I don't know.
Kat Lewis:Absolutely not.
Laurel Thomas:Right, that's what my daughter says.
Micah Leydorf:Yeah, there's not a question. We don't need to, we can answer that question for you, Laura. No, no, he is not.
Melissa Grace:I remember when the movies first came out and it was like, you know, Team Gale, Team Peeta. And I was like, oh my goodness, it's a Hemsworth. There's no contest.
Kat Lewis:That's great. That's great. No, talk about the reactions that people have towards Peeta, towards Gale because they are such emotional change engines in the story, right? And even Prim, right? They do kind of force Katniss to determine how she's going to move one way or the other. Okay. So we will be discussing the entire trilogy today. So let me give you guys a quick breakdown on what each book covers just so you have that floating in the back of your head. So book one is where Katniss volunteers to go to the games for her sister in her sister's stead. Um, and she and Peeta managed to cheat the system. You're supposed to have one Victor standing at the end of the day. And she and Peeta both make it out of the arena with their lives. That unwittingly makes her a target for Book Two, because President Snow, the head of this capital Pan Am system, sees this growing momentum of dissent. And so his solution in Book Two is to send all of the past victors back into the arena for Hunger Games, totally breaking all the rules. And Katniss and Peeta just kind of stumble their way through a second horrific experience. But at the end of book two is when this deeper plot of the victors coming together as the leaders and the head of a massive rebellion against the Capitol. Book three covers the kind of birth and first initial movements of this insurrection. And book three covers the fact that Katniss is totally disinterested in being the spokesperson for it. She's PTSD ridden. She has seen her home destroyed. And so book three really takes us through Katniss's strongest character arc of really rising to become the heroine that everybody is expecting of her, but also speaking out over her. So that's the groundwork for the three books that we are going to be discussing today. So that kind of, you know, jump starts us into the next question, which is what's a visceral moment that stands out for you guys in this novel?
Micah Leydorf:Okay. So we're visceral moments that we're talking about. I know what, there's so much violence. There's so much action that you would think that one of those scenes would be like the visceral moment. But for me? I really remember and was most struck by, I think it was the, um, like the banquet before the games were about to start and their at the Capitol and all these people in their ridiculous lavish, gaudy. And they took these pills so that they could eat and then like eat more. Like they actually throw it up and it was just like that was this visceral that it's like that picture of the Capitol is what made all the rest of it makes sense. If that these people are starving, they're struggling, they're literally killing each other. And yet you have these people completely oblivious. Just indulging in, You know, living it up. And it was just a very visceral depiction of social commentary. So for me that, that scene, that ball and that indulgence, that ridiculous indulgence.
Melissa Grace:Well, that's so interesting because one of the visceral moments for me was when Katniss and Gale before the first reaping, they have a little feast. They have good bread and apples and goat cheese. And you know, so simple, but probably just as yummy as, but, it just made me; just the thought of like hungry people getting to savor; and they were just both so excited for just this little bit of cheese and this little bit of bread. It was like, I just felt it with them. And to me, that little simple meal indulged my senses more than the extravagance.
Micah Leydorf:So funny, that both of our reactions involve food and this book is called The Hunger Games. But yet, I never really even connected like Hunger Games with real hunger. But yet, that's what we don't like kind of picked up.
Kat Lewis:Interesting. What about you, Laurel?
Laurel Thomas:Well, again, I mean, when Katniss, who I think, I love the way Suzanne Collins builds her, as Micah said, such a sympathetic protagonist. Even though she's out of the ordinary. She had no interest in being a leader; really the only thing that propelled her forward was love for her sister. And really, I would say, it was Prim alone that she would have and did volunteer for. And so we see Katniss with her moments of compassion that rise up and cause her to act, makes her such a strong protagonist. And she does that over and over, but you know, I love the one it's probably in book three and in the Mockingjay where they take her to district 11 And it's bombed and there's a hospital there. And really Katniss They've tried to coach her. They've tried to put her in makeup and make her look fierce and she looks silly instead But it's when her compassion when she sees the Capitol Airplanes bomb the hospital that they've just visited. And she rises up into that place of the Mockingjay and is, is totally unapologetic, totally winning, totally appealing, and has the strength to shift a culture. And I think it's so interesting to see that in a young protagonist who really had no intention of taking that place.
Kat Lewis:That's good, Laurel. You know, Katniss, I struggle with Katniss because there are moments when I really love her. And then there are moments when I'm just really tired of her, right? I'm like, get your act together, sister. But one of Katniss strongest attributes is her compassion for other people. Suzanne Collins does a really interesting thing where we see the she's all about self preservation, right? So we think. But the quickest way to jar her out of that is for her to view the injustice of somebody she loves, somebody that she sees as hers to protect. And so a visceral moment for me that has always just wrecked my soul is in book two, as she's preparing to go into the shuttle to be sent up to the arena for the second time, when they beat Sinna in front of her. At that point, there's all this momentum at that, you know, the interview before where Peeta's weaving this whole elaborate story of we're engaged and there's a baby and there's this camaraderie and kind of agreement amongst the victors. It's starting to kind of get clear to Katniss. There was a little bit more going on behind the scenes than I thought but I'm still not sure what that has to do with me. And then this mentor of hers, that she loves and that really coached her through those first games. I think seeing those soldiers intentionally beat him in front of her. That kind of stirs up this fire that's fed throughout the rest of the series. So that's a visceral moment that stands out for me. I mean, I cried in the book and I cried in the movie, right? I'm not a Lenny Kravitz fan generally, but I just was like, he's such a phenomenal character. But also, the whole Team Peeta, Team Gale thing, you know, I'm fully team Gale. I'm unapologetically team Gale. Fight me on it. But she had so many tender moments with Peeta in book two in preparation for going back into the arena that all of those kind of sweet, innocent exchanges of sunset paintings, right. Maybe this is where that comment of why this is on the band books. Laurel had mentioned that Hunger Games is on the banned books cause it's pornographic. And they spend a lot of time in bed together because they both have nightmares. And like together is the only way that they can sleep. I'm like, in a Bridgerton era, you consider that pornographic?
Micah Leydorf:I don't know who does consider that.
Kat Lewis:I don't think so. I would not consider that.
Melissa Grace:I feel like they made very clear that they were just sleeping.
Laurel Thomas:Well, and two, maybe we're skipping a little bit ahead here, but I think Peeta in the very end, spoiler alert, she says, I didn't need Gale's fire. I needed Peeta's kindness. And I think, you see that Katniss's biggest flaw is, hey, we're just going to get it done. Let's just get it done.
Melissa Grace:I mean, I loved, I'll throw in my favorite quote here. I loved how Collins put characters in a nutshell with just like a little line or two. And with Katniss, it was, she talked very early in the first book. This crazy link started following me around the woods. While she was hunting looking for handouts. I finally had to kill it because it scared off game I almost regretted it because it wasn't bad company, but I got a decent price for the pelt". She's very pragmatic. I mean she is not just This you know Yes, yes
Kat Lewis:I mean, I do think that she did such a great job of juxtaposing these very different kinds of masculinity. Right. Gale, who was the go getter and who we automatically assume is more masculine because he is like, Let's run away. Let's fight the Capitol. I'll suit up. I'll go. And then Peeta, who's more introspective, who's more emotionally in tune Who's more emotionally vulnerable. Katniss has the emotional intelligence of a brick. Okay. She does. She does. And it takes Peeta really like drawing kind of these self revelations out of her that make her go. You know, one of the most heart wrenching scenes in the series is when in book three when, So they're able to rescue Katniss at the end of book two, but not rescue Peeta. And so rescuing Peeta is a huge driving force for her in book three. And when they finally get Peeta back, he's broken. And he hates her. And it breaks her heart. And I think that's probably the motivating the thing that jars her out of her complacency more than anything
Laurel Thomas:well, that and not being sure that Gale wasn't a part of bombing District 11 volunteers. Because President Snow brings that up and he just he plants that seed of doubt was were they capital?
Melissa Grace:Okay, so I had a bone to pick with that. Okay huge spoiler. When Katniss gets the honor of executing President Snow, but instead of doing that at the last minute, she executes Coin. And I just felt like there just wasn't enough. It was just a leap too far for me. I just needed one more, one more sentence to connect that to reality. Because she has been an unreliable narrator kind of a lot.
Laurel Thomas:oKay, when they had the round table, are we going to continue the hunger games, but on our basis and coin says let's take a vote. And at that point, we see, okay, Peeta is a dissenting voice. I think there's a couple others, but not Haymitch and not Katniss.
Melissa Grace:Well, yeah, that was another thing I just had a problem with that. I felt like it was out of character. And like I said, I just needed one little bit of concrete evidence connecting.
Kat Lewis:And I would agree with that, Melissa. It's really interesting. I can see where she was going. And I understand why she did what she did, but it took me a second to understand how the story supported us putting an arrow in President Coin, right
Laurel Thomas:It was very clear to me.
Kat Lewis:I could see all of the foreshadowing. But the pieces weren't as concrete as I was hoping. I feel like this is kind of great transition into, let's talk about what aspects of the craft of writing is done really well in this book. And I feel like the discussions of motivation and plot trajectory, all of these things are touching on the craft that's done so well that we actually have So, what stands out to you guys? Was there any technique that you learned or relearned reading this book or watching the movies?
Laurel Thomas:I think she is a master at the plot twist.
Micah Leydorf:Is there one that comes to mind immediately for you, Laurel?
Laurel Thomas:Yeah, the end when she shoots Coin instead of Snow. Because that, it's so unexpected. And yet, if you go back, which I think Is a characteristic of a strong novel; to have to go back and go. Wait a minute. Wait a minute. Wait a minute What happened
Kat Lewis:exactly? How did we get here?
Laurel Thomas:Was there a framework laid for this? Was it enough? But it's strong and it makes sense You know when you look in light of what has happened. So to me, it's a masterful plot twist
Kat Lewis:I think she does a great job of ending every single book with a plot twist that propels you into the next book. You were talking, Laurel, about how all three books read it as one seamless story. It's because at the end of book one, we're left with this kind of startling. You know, we're expecting either for Peeta to have to kill Katniss or Katniss to kill Peeta. It doesn't happen, right? Plot twist, but the plot twist creates a question of: how is the capital going to respond and we're been launched into the next section of the story.
Laurel Thomas:That's good.
Melissa Grace:Well, I thought just her technical strength. Each chapter had an arc. She just had such good pacing. That's just what we're taught that, every scene has a purpose and there's a change in the situation, the character from the beginning to the end. And she just did that so very well. And I also, I think that that Katniss's character arc, She doesn't change until her world changes. Like she doesn't decide, okay, I can be a mother. I can bring children into this world until the world is different.
Micah Leydorf:I do think that the characters that she develops are one of her real strengths. Because here we are, we're debating about Katniss and about what her motivation was, you know, changes and all those things. And so that's a sign of a good character that they're, you know. Fully developed enough that we can care. Or that you're team Gale, you're team Peeta, and you can talk about there. So I think she was really good at creating these care or even president snow of, you know, the villains. And I mean, Effie, or you were saying like Seneca, all these people were Hamish, like these really interesting characters that you care about, or you hate that evoke strong emotions. So I feel like she did that really well.
Melissa Grace:She did it so well. Every character had
Micah Leydorf:There's no, um, stereotypes. I mean, or not tropes that's what we're familiar with here. As authors like, oh, this is the typical best friend character and here's your typical villain sidekick or whatever. And like all the people, they kind of defy those.
Kat Lewis:She does an interesting twist on the trope. So when you think of like the hero's best friend, you're not going to immediately think of a sibling, but Prim was the best friend, I think for her. When you think of like the mentor, you don't think of the drunk. You don't immediately think that alcoholism is like a stunning characteristic of your mentor. When you think about a strong parental force, that's moving you forward, you don't think of the depressed, checked out mom, right? Like she, so I think that the tropes are there. She just did such a great job of understanding the purpose of the trope that she can flip them and do something super funky with them. Even again, talking about Gale and Peeta, two sides of this masculine, who is the real male hero in her life. And for her, it's not who we thought it was going to be, right. so yeah, I think her use of tropes and flipping them on their head is really is really brilliant. I think her sinister subtext is also equally brilliant. You know, Hunger Games and Divergent were both released at the same time. And Hunger Games is by far more wildly successful than Divergent.
Micah Leydorf:The books were released at the same time? Is that what you're saying?
Kat Lewis:Within the same few years. Yeah, yeah, yeah, yeah. I actually want to say that Divergent came out before Hunger Games. Really? Um, yes.
Melissa Grace:Huh, I didn't realize that.
Kat Lewis:As Hunger Games became more popular, they then went back and made Divergent. But it's like, what makes these novels so different? And I think that from what I can tell, Divergent spends a lot of time laying out this very obvious evil government subtext. Whereas it is so subtle here. There's a clear villain, but talk about how President Snow has created within his own philosophy, this culture, right? Because President Snow is a subtle man. So the evil of the culture is subtle, right? You have to get to the lavish banquet to be quietly disgusted by the fact that my family's starving and you guys are vomiting up this food.
Melissa Grace:And You don't have to have a lot of subtext when the government wants children to kill each other I mean that is that just I mean that just saves all of that. Yeah, it's just there and
Kat Lewis:What's interesting is even though it's It's the whole Premise of the story. I don't actually ever think that she gets preachy about I
Melissa Grace:Which is the strength of it, which is the strength.
Kat Lewis:The conversation happens because of the story. She never sits here and talks about killing children is evil and da da da da.
Laurel Thomas:Killing children for entertainment.
Micah Leydorf:But it's even worse. It's even worse.
Kat Lewis:It's for entertainment. And like, how you have generations of people who, They don't see anything wrong with it.
Micah Leydorf:They're desensitized.
Melissa Grace:Well, and, and I feel like, you know, back to lessons in craft, just that's showing versus telling.
Micah Leydorf:Yeah, yeah, how much more effective is that than if they all sat around and said the Capitol is so horrible. They do all these horrible things. They're just so evil. And he's like forget that. Like we're just gonna have Effie get up in her fancy outfit and be like, may the odds be ever in your favor. And this is a big game and we're and it's like It's just the horrificness of it, but you don't talk about how horrific it is. You just feel it from the experience.
Melissa Grace:You feel it. Yes.
Kat Lewis:One of the things about The Hunger Games that has made it such a kind of cultural movement, if you will, is all of the social commentary that's woven within this novel. So let's talk about what are truths about society, about the human experience that are explored, confirmed, or challenged in this novel.
Micah Leydorf:Well, I would just go back to something that I spoke to, but then you reiterated there, Kat, about just the desensitization of the other's experience. You know, when it's not affecting you, that you can just be okay with cruelty to others. Oh, that's district 11. Oh, that's district 12. Somehow they must have done something that justifies their treatment. I just think that that's a very universal experience. It can happen in the smallest ways from like bullying at schools, like, okay, well, I'm okay. So it's okay that other people to, you know, the war in Palestine. Or hunger in Africa, you know, all, all the things, it's just, um, very much human for us to not have sympathy for the other.
Laurel Thomas:I see, too, that our culture places children on an altar, and children suffer because of the altar that we place them on. And you can look at the culture of excess in the Capitol, and you see both ends, but what is at stake in our culture? It's our children. How are we desensitized about how our children are? What kind of culture are they living in? How are they victimized by our culture? How are they not being protected in our culture? I mean, we don't want to look at it that way. That's a little too personal, right? Right.
Kat Lewis:And how is our action or inaction inadvertently allowing children to suffer because I'm not willing to do the countercultural thing. We glorify children as long as it serves us, but we're really not interested at all in, in sacrificing and genuinely saying. You know, you talk about like bullying in schools. It's like, why is bullying so prevalent that kids are killing themselves. That we have fights breaking out that are ending up in kids in the hospital? Like, in a society that says that we value children, where are the adults? We're, and I'm not talking about, I'm not talking about teachers. Where are the parents that are saying, No, ma'am, we're not, we're not having that right. But there's all these engines that just contradict the pedestal.
Laurel Thomas:Well, and bottom line, children are the hope of the culture. So basically the show not tell is that we're going to kill the hope of the future for you, right? So President Snow says, we'll take care of the future, right? We'll make sure that you're so terrified and that we take your children as our prey. To make our point that your hope, your future is hopeless.
Kat Lewis:Wow.
Melissa Grace:Well, the truth that I loved how she portrayed everyone as damaged. And I felt like a big theme was trauma has consequences. You know, the Avengers stands and get pounded for an hour and then they go and eat Shwarmas. I mean, they're fine.
Micah Leydorf:There's no PTSD.
Melissa Grace:There's no PTSD. They're depressed.
Micah Leydorf:They're not guilt ridden from the people they've killed.
Melissa Grace:And, and it's not just violent. I mean, you know, sitcoms where there's a big hookup culture. There's never any consequence shown for that. I just think it's very refreshing. And it just, it was their strength. She turned it into, like, the characters, their damage. Was their powers in their sincerity and in them being who they were with their damage Like you talked about how Katniss, when they tried to script her, she was horrible. But when she leaned into who she really was with all that bringing all of her baggage, she was effective. She was a powerful leader. And I just, I feel that's a message for all of us.
Micah Leydorf:I think that's very profound.
Kat Lewis:I think that's beautiful, Melissa, because, um, there is this idea that you have to be perfect to be hero and heroic. Heroism is actually choosing to act in spite of your alcoholism. In spite of your deep, deep fear,
Melissa Grace:I mean, just think, I mean, just that right there, a character that's an alcoholic and is a hero. I mean, that's a good book. I mean, you have to try to mess up that book.
Kat Lewis:It just shows that maybe the healing comes in
Micah Leydorf:service
Kat Lewis:and applying yourself to a good, a worthy cause. Um, and being around damaged, other damaged people who are choosing to do a valiant thing. I think there's, there's an uplifting right out of compassion.
Melissa Grace:And the way Collins wrote Katniss was, I felt like her not drowning buttercup, it was her holding onto her humanity. Even in that really, horrible place she lived in and she allied with Rue and I mean, if she hadn't been so damaged, those things would not have been as powerful.
Laurel Thomas:Well, and it's interesting, at the very deepest part of her brokenness, she and Buttercup grieved together. So, powerful scene.
Kat Lewis:I think that's a really uplifting page to end on with the Hunger Games. Again, it's been around for a long time. There's so much conversation around the good, the bad, what's portrayed well, what's not portrayed well. And it's very easy to get deep into the woods of dark twisted governments which is true in and of its own right. But I think that the message that can be taken away from Hunger Games is how are you going to act?
Micah Leydorf:Or how are you going to hang on to your humanity? I just love, I love that. You know, I love that idea in this dystopian world or
Laurel Thomas:I think that's why Peeta is the one. Because he hangs onto his humanity all the way through.
Kat Lewis:Yeah. And shows her the way
Melissa Grace:Even when they try so hard to take it from him with the brainwashing. Well, and if you look at his family, he's totally rejected. His family is rooting for Katniss. Not for him.
Kat Lewis:So yeah, I think for audiences is explore your own humanity. First of all, what does it look like for you to hang on to your humanity? And then explore that with your characters. What does it look like for your character to hang on to their humanity at all costs, even if it's not explicitly stated? In fact, I think it's more powerful for it not being explicitly stated. Because then the reader is required to go on the journey with your character to figure it out. So what a lively, wonderful, thought provoking discussion about Suzanne Collins The Hunger Games. If you've not read it, you guys get on it immediately. You will blitz through it at the pool. You'll blitz through it at the beach. It's worth your time. And we will see you guys next time for Stories That Change Us.
