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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it with the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do 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 individuals of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises being one with the most mentioned books of the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said through the start that The Hunger Games story was intended being a trilogy. Did it actually end the best way you planned it through the beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc in the story from gladiator game, to revolution, to war, to the eventual outcome remained constant through the writing process.
Q: We understand you worked on the initial screenplay to get a film being depending on The Hunger Games. What could be the biggest difference between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. If you are adapting a novel in a two-hour movie you simply can't take everything with you. The story has to be condensed to suit the newest form. Then there's the question of how best to look at a novel told in the first person and provides 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 will need a method to dramatize her inner world and to produce it feasible for other characters to exist outside of her company. Finally, there is the challenge of how to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A great deal of the situation is acceptable on a page that may not be on the screen. So how certain moments are depicted could eventually be in the director's hands.
Q: Have you been capable of consider future projects while working on The Hunger Games, or are you immersed inside the world you're currently creating so fully it is just too difficult to consider new ideas?
A: We've a number of seeds of ideas floating around within my head but--given very much of my focus continues to be on The Hunger Games--it will likely be awhile before one fully emerges and i also can commence to develop it.
Q: The Hunger Games is once a year televised event in which one boy then one girl from each from the twelve districts is forced to participate in a fight-to-the-death on live TV. Exactly what do you imagine the appeal 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 have very talented people performing. Then you have 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, in order that whenever they see real tragedy playing out on, say, the news, this doesn't happen have the impact it should.
Q: In case you were forced to compete in the Hunger Games, exactly what do you believe your personal skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I became trained in sword-fighting, I guess my best hope can be to get hold of a rapier if there was clearly one available. But reality is I'd probably get about 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 elements of the books may be relevant in their own lives. And, when they are disturbing, the things they might do about them.
Q: What were some of one's favorite novels when you're 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 with 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 around it is for world control. While it is really a clever twist for the original plot, it indicates that there is less focus for 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 displaying despair both at those she feels in charge of killing and possibly at her motives and choices. This is definitely an older, wiser, sadder, and extremely 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 also the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very well evidenced in his voice, which goes from rage to puzzlement to an unsure return to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and lots of confused—very real with distinct voices and agendas/concerns. She acts such as an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and unique challenges of each one with 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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