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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it in the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who can they think should pay for the unrest? Katniss. And what's worse, President Snow has made it clear that no person else remains safe and secure 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 to become one with the most talked about 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 really end the way you planned it from your beginning?
A: Very much so. While I did not know every detail, of course, the arc from the story from gladiator game, to revolution, to war, for the eventual outcome remained constant throughout the writing process.
Q: We understand you worked around the initial screenplay for any film to be depending on The Hunger Games. What will be 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 right into a two-hour movie you cannot take everything with you. The story has to become condensed to match the newest form. Then there's the question of methods best to take a magazine told within 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 a second and therefore are privy to any or all of her thoughts so you'll need a way to dramatize her inner world and to produce it easy for other characters to exist outside of her company. Finally, there's the challenge of how to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A great deal of things are acceptable over a page that couldn't survive on the screen. But how certain moments are depicted may ultimately be inside director's hands.
Q: Are you capable to consider future projects while working on The Hunger Games, or are you immersed in the world you might be currently creating so fully who's is too challenging to consider new ideas?
A: We've a couple of seeds of ideas floating around inside my head but--given a great deal of of my focus remains on The Hunger Games--it will likely be awhile before one fully emerges and I can commence to develop it.
Q: The Hunger Games is an annual televised event where one boy then one girl from each from the twelve districts is instructed to participate in a fight-to-the-death on live TV. What do you believe 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 interest in seeing who wins. The contestants are usually unknown, which ensures they are relatable. Sometimes they've very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I have found very disturbing. There's also the potential for desensitizing the audience, to ensure that when they see real tragedy playing out on, say, the news, it does not possess the impact it should.
Q: Should you were instructed to compete in the Hunger Games, so what can you believe your special 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 have hold of an rapier if there were one available. But reality is I'd probably get in relation to its a four in Training.
Q: What does one hope readers can come away with when they read The Hunger Games trilogy?
A: Questions about how elements in the books could possibly be relevant inside their own lives. And, if they're disturbing, whatever they might do about them.
Q: What were some of the favorite novels when you are 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 a single more Hunger Game, but this time it can be for world control. While it is often a clever twist on the original plot, it means that there is certainly less focus about 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 and at her own motives and choices. This is an older, wiser, sadder, and incredibly 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 from the rebels and also the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are well evidenced in the 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 as an outside chronicler in giving listeners just “the facts” but also respects the individuality and different challenges of each 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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