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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 will they think should pay for the unrest? Katniss. And what's worse, President Snow has caused it to be clear that no-one else is protected 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 be 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 from the start that The Hunger Games story was intended like a trilogy. Did it really end the best way you planned it from the beginning?
A: Very much so. While I didn't 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 entire writing process.
Q: We understand you worked around the initial screenplay for a film to be based 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. If you are adapting a novel in a two-hour movie you can not take everything with you. The story has to be condensed to fit the brand new form. Then there's the question of methods best to adopt a magazine told within the first person and offer tense and transform it into a satisfying dramatic experience. In the novel, you don't ever leave Katniss for the second and so are privy to any any of her thoughts so you'll need a strategy to dramatize her inner world and to generate it easy for other characters to exist outside of her company. Finally, you have the challenge of how you can present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A lots of situations are acceptable over a page that may not be on a screen. So how certain moments are depicted will ultimately be inside director's hands.
Q: Are you capable of consider future projects while working on The Hunger Games, or are you immersed within the world you might be currently creating so fully that it is simply too hard to think about new ideas?
A: We've a few seeds of ideas boating within my head but--given a good deal of of my focus is still on The Hunger Games--it will probably be awhile before one fully emerges and i also can begin to develop it.
Q: The Hunger Games is an annual televised event where one boy then one girl from each in the twelve districts is instructed to participate inside a fight-to-the-death on live TV. What can you imagine the benefit of reality television is--to both kids and adults?
A: Well, they're often setup as games and, like sporting events, there's an desire for seeing who wins. The contestants are usually unknown, which ensures they are relatable. Sometimes they've very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I have found very disturbing. There's also the opportunity for desensitizing the audience, in order that after they see real tragedy playing out on, say, the news, it does not contain the impact it should.
Q: If you were instructed to compete inside Hunger Games, so what can you think your special 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 could be to have hold of your rapier if there is one available. But the facts is I'd probably get about a four in Training.
Q: What would you hope readers will come away with whenever they read The Hunger Games trilogy?
A: Questions about how exactly elements from 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 your respective 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 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 this time around it really is for world control. While it is really a clever twist around the original plot, it indicates that there exists less focus around the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life in a less vibrant Katniss by showing her despair both at those she feels accountable for killing and at her very own motives and choices. This is 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 from the rebels along with 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 a unsure come back to sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and lots of confused—very real with distinct voices and agendas/concerns. She acts like an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and unique challenges of each and every with the main characters. A successful completion of an 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.
