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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out of the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who will they think should pay for your unrest? Katniss. And what's worse, President Snow has caused it to be clear that nobody else is safe either. Not Katniss's family, not her friends, not the people of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to get one in the most talked about books with the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said in the start that The Hunger Games story was intended as a trilogy. Did it really end the best way you planned it in the beginning?
A: Very much so. While Some know every detail, of course, the arc in the story from gladiator game, to revolution, to war, for the eventual outcome remained constant throughout the writing process.
Q: We understand you worked for the initial screenplay to get a film to be according to The Hunger Games. What is the biggest difference between writing a novel and writing a screenplay?
A: There were several significant differences. Time, for starters. If you are adapting a novel in to a two-hour movie you can not take everything with you. The story has to become condensed to suit the newest form. Then there is the question of methods best to adopt a book told in the first person and provides tense and transform it into a satisfying dramatic experience. In the novel, you won't ever leave Katniss for any second and are privy to any or all of her thoughts so you will need a approach to dramatize her inner world and to create it easy for other characters to exist outside of her company. Finally, you have the challenge of the easiest way to present the violence while still maintaining a PG-13 rating in order that your core audience can view it. A lots of the situation is acceptable on the page that would not be on a screen. But how certain moments are depicted may ultimately be in the director's hands.
Q: Are you in a posture to consider future projects while working on The Hunger Games, or are you immersed in the world you happen to be currently creating so fully who's is too challenging to take into consideration new ideas?
A: We have several seeds of ideas floating around within my head but--given very much of my focus continues to be on The Hunger Games--it is going to be awhile before one fully emerges and that i can start to develop it.
Q: The Hunger Games is an annual televised event through which one boy and something girl from each in the twelve districts is made to participate in a very fight-to-the-death on live TV. What can you think the benefit of reality television is--to both kids and adults?
A: Well, they're often create as games and, like sporting events, there's an desire for seeing who wins. The contestants are generally unknown, which means they are relatable. Sometimes they've very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I've found very disturbing. There's also the possibility for desensitizing the audience, in order that when they see real tragedy playing out on, say, the news, this doesn't happen have the impact it should.
Q: If you were expected to compete within the Hunger Games, what do you think that your personal skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I was trained in sword-fighting, I guess my best hope will be to obtain hold of a rapier if there were one available. But reality is I'd probably get with regards to a four in Training.
Q: What would you hope readers can come away with once they read The Hunger Games trilogy?
A: Questions about how precisely elements from the books could possibly be relevant within their own lives. And, if they're disturbing, what you might do about them.
Q: What were some of your respective favorite novels when you had been a teen?
A: A Tree Grows in Brooklyn by Betty Smith
The Heart Is a Lonely Hunter by Carson McCullers
Nineteen Eighty Four by George Orwell
Anna Karenina by Leo Tolstoy
Slaughterhouse-Five by Kurt Vonnegut
A Wrinkle in Time by Madeleine L’Engle
Lord of the Flies by William Golding
Boris by Jaapter Haar
Germinal by Emile Zola
Dandelion Wine by Ray Bradbury
(Photo © Cap Pryor)
Gr 7 Up–The final installment of Suzanne Collins's trilogy sets Katniss in one more Hunger Game, but this time it's for world control. While it is a clever twist on the original plot, it means that there is certainly less focus on the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life right into a less vibrant Katniss by showing her despair both at those she feels responsible for killing and and at her own motives and choices. This is surely an older, wiser, sadder, and very reluctant heroine, torn between revenge and compassion. McCormick captures these conflicts by changing the pitch and pacing of Katniss's voice. Katniss is both a pawn with the rebels and the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are well evidenced as part of his voice, which goes from rage to puzzlement to an unsure return to sweetness. McCormick also makes all the secondary characters—some malevolent, others benevolent, and a great deal of confused—very real with distinct voices and agendas/concerns. She acts just like an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and different challenges of every in the main characters. A successful completion of your monumental series.–Edith Ching, University of Maryland, College Parkα(c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
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