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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other 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 managed to get clear that no-one else is protected 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 get one in the most talked about books of 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 as a trilogy. Did it actually end the best way you planned it in the beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc from the story from gladiator game, to revolution, to war, on the eventual outcome remained constant through the entire writing process.
Q: We understand you worked for the initial screenplay for a film to get based on The Hunger Games. What could be the biggest difference between writing a novel and writing a screenplay?
A: There were several significant differences. Time, for starters. If you are adapting a novel in to a two-hour movie you can not take everything with you. The story has to become condensed to suit the new form. Then you have the question of methods best to consider the sunday paper told inside the first person and offer tense and transform it right into a satisfying dramatic experience. In the novel, you never leave Katniss for the second and are privy to all of her thoughts so you need a approach to dramatize her inner world and to produce it feasible for other characters to exist beyond her company. Finally, you have the challenge of the way to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A great deal of situations are acceptable over a page that couldn't survive on a screen. So how certain moments are depicted could eventually be within the director's hands.
Q: Do you believe you're in a posture to consider future projects while working on The Hunger Games, or are you immersed within the world you might be currently creating so fully which it is simply too challenging to think about new ideas?
A: I've a couple of seeds of ideas going swimming during my head but--given that much of my focus continues to be on The Hunger Games--it is going to be awhile before one fully emerges and I can begin to develop it.
Q: The Hunger Games is once a year televised event in which one boy and something girl from each with the twelve districts is instructed to participate in a fight-to-the-death on live TV. Exactly what do you think 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 makes them relatable. Sometimes they have very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I find very disturbing. There's also the opportunity for desensitizing the audience, so that once they see real tragedy playing out on, say, the news, this doesn't happen possess the impact it should.
Q: If you were made to compete within the Hunger Games, what do you think that 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 will be to get hold of the rapier if there were one available. But the facts is I'd probably get about a four in Training.
Q: What can you hope readers should come away with when they read The Hunger Games trilogy?
A: Questions about how precisely elements in the books could possibly be relevant inside their own lives. And, when they are disturbing, what they might do about them.
Q: What were some of your 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 now it really is for world control. While it can be a clever twist for the original plot, it indicates that there's less focus around the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life into a less vibrant Katniss by showing her despair both at those she feels responsible for killing and and at her own motives and choices. This is definitely an older, wiser, sadder, and intensely 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 try and control Katniss. Peeta's struggles are very 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 a great deal of confused—very real with distinct voices and agendas/concerns. She acts such as an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and different challenges of each and every from 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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