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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out in the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay for the unrest? Katniss. And what's worse, President Snow has made it clear that no one else remains safe and secure 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 of the most discussed books in 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 being a trilogy. Did it actually end the strategies by which you planned it from the beginning?
A: Very much so. While I didn't know every detail, of course, the arc from the story from gladiator game, to revolution, to war, to the eventual outcome remained constant throughout the writing process.
Q: We understand you worked about the initial screenplay for any film to become according to The Hunger Games. What is the biggest distinction between writing a novel and writing a screenplay?
A: There were several significant differences. Time, for starters. When you are adapting a novel in to a two-hour movie you cannot take everything with you. The story has to get condensed to match the brand new form. Then there is the question of methods best to consider the sunday paper told inside the first person and present tense and transform it in to a satisfying dramatic experience. In the novel, you don't ever leave Katniss for any second and so are privy to all of her thoughts so you may need a way to dramatize her inner world and to produce it easy for other characters to exist beyond her company. Finally, there is the challenge of the way to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A lots of situations are acceptable on the page that couldn't survive over a screen. But wait, how certain moments are depicted will ultimately be within the director's hands.
Q: Have you been in a position to consider future projects while working on The Hunger Games, or are you immersed in the world you're currently creating so fully it is just too challenging to think about new ideas?
A: I've several seeds of ideas floating around during my head but--given that much of my focus remains on The Hunger Games--it will likely be awhile before one fully emerges and that i can start to develop it.
Q: The Hunger Games is once a year televised event where one boy and one girl from each of the twelve districts is instructed to participate inside a fight-to-the-death on live TV. What do you think that the appeal of reality television is--to both kids and adults?
A: Well, they're often set up as games and, like sporting events, there's an fascination with 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 have found very disturbing. There's also the potential for desensitizing the audience, to ensure when they see real tragedy playing out on, say, the news, it doesn't have the impact it should.
Q: In case you were forced to compete inside the Hunger Games, exactly what do you think your personal skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I accustomed to be trained in sword-fighting, I guess my best hope can be to get hold of a rapier if there is one available. But the truth is I'd probably get in regards to a four in Training.
Q: What do you hope readers can come away with when they read The Hunger Games trilogy?
A: Questions about how exactly elements of the books might be relevant in their own lives. And, when they are disturbing, the things they might do about them.
Q: What were some of your favorite novels when you were 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 in 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 on this occasion it is for world control. While it can be a clever twist about the original plot, it means that there is less focus around the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life in to a less vibrant Katniss by showing her despair both at those she feels responsible for killing and possibly at her very own motives and choices. This is definitely 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 as well as the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are very well evidenced in his voice, which goes from rage to puzzlement to an unsure go back to sweetness. McCormick also makes all the secondary characters—some malevolent, others benevolent, and many confused—very real with distinct voices and agendas/concerns. She acts like an outside chronicler in giving listeners just “the facts” but also respects the individuality and unique challenges of each in the main characters. A successful completion of the 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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