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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out with 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 made it clear that no one else remains safe and secure either. Not Katniss's family, not her friends, not the folks of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to be one with the most brought up books from the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said from your start that The Hunger Games story was intended being a trilogy. Did it really end the way you planned it through the beginning?
A: Very much so. While Some know every detail, of course, the arc from the story from gladiator game, to revolution, to war, towards the eventual outcome remained constant through the writing process.
Q: We understand you worked on the initial screenplay for a film being according to 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 right into a two-hour movie you can't take everything with you. The story has to be condensed to match the brand new form. Then there's the question of how best to take the sunday paper told within the first person and offer tense and transform it in to a satisfying dramatic experience. In the novel, you won't ever leave Katniss to get a second and therefore are privy to all of her thoughts so you'll need a approach to dramatize her inner world and to make it easy for other characters to exist beyond her company. Finally, there's the challenge of how you can present the violence while still maintaining a PG-13 rating in order that your core audience can view it. A lots of things are acceptable over a page that would not be over a screen. But exactly how certain moments are depicted will ultimately be in the director's hands.
Q: Are you currently able to consider future projects while working on The Hunger Games, or are you immersed inside the world you are currently creating so fully which it is too difficult to take into consideration new ideas?
A: I have a couple of seeds of ideas boating in my head but--given very much of my focus continues to be on The Hunger Games--it will probably be awhile before one fully emerges and i also can start to develop it.
Q: The Hunger Games is a yearly televised event by which one boy and one girl from each in the twelve districts is expected to participate in a very fight-to-the-death on live TV. What do you imagine the benefit 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 curiosity about seeing who wins. The contestants are usually unknown, which ensures they are relatable. Sometimes they have very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I've found very disturbing. There's also the possibility for desensitizing the audience, to ensure that when they see real tragedy playing out on, say, the news, it doesn't possess the impact it should.
Q: In the wedding you were made 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 was trained in sword-fighting, I guess my best hope will be to obtain hold of an rapier if there was one available. But reality is I'd probably get of a four in Training.
Q: What do you hope readers will come away with once they read The Hunger Games trilogy?
A: Questions about how elements from the books could possibly be relevant of their own lives. And, if they're disturbing, what you might do about them.
Q: What were some of the 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 from 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 a single more Hunger Game, but this time it's for world control. While it is really a clever twist about the original plot, this means that there's less focus on the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life right into a less vibrant Katniss by showing her despair both at those she feels in charge of killing and possibly at her own motives and choices. This is surely 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 and the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are very evidenced in the 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 lot 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 and every with the main characters. A successful completion of a 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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