![]() ![]() Weeks later, the film did not sit well with me, lingering as a mediocrity only made palatable by the endless soul of Jennifer Lawrence’s presence onscreen.Īnd after rereading Paula Fox’s The Slave Dancer, a 1974 Newbery Award–winning children’s novel, I wonder, seriously, what she would make of the glib work aimed at children these days, particularly the uneven aspects of the Hunger Games series-on book and film-a work that puts its characters in thrilling situations and often on the precipice of horrible choices that will define their humanity, but all too often stops and takes the easy way out, in the form of deus ex machinas and conspiracies that go all the way to the top.īecause here’s the thing about Paula Fox’s work: she never takes the easy way out. It was videogame violence, the sort that disappeared in the span of a moment, not the sort of savagery that hits you in the gut, makes you understand what the cost of violence can be. When I saw the film adaptation of The Hunger Games last year, I left the theater feeling uneasy about the shaky-cam, blurry, PG-13–sanctioned violence of kids killing kids. ![]() In anticipation of the event, the Daily is featuring a series of essays celebrating Paula Fox, who is being honored this year with The Paris Review ’s Hadada Prize. ![]() ![]() This year our Spring Revel will take place on April 9. ![]()
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