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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out of 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 caused it to be clear that no-one else remains safe and secure either. Not Katniss's family, not her friends, not the people of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to get one of the most brought up books with 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 as a trilogy. Did it genuinely end the way you planned it in the beginning?
A: Very much so. While I did not know every detail, of course, the arc in the story from gladiator game, to revolution, to war, towards the eventual outcome remained constant through the entire writing process.
Q: We understand you worked around the initial screenplay for a film to become according to The Hunger Games. What may be the biggest difference between writing a novel and writing a screenplay?
A: There were several significant differences. Time, for starters. When you find yourself adapting a novel into a two-hour movie you cannot take everything with you. The story has to become condensed to match the brand new form. Then you have the question of how best to look at a magazine told in the first person and offer tense and transform it into a satisfying dramatic experience. In the novel, you never leave Katniss for a second and are privy to all of her thoughts so you'll need a strategy to dramatize her inner world and to create it easy for other characters to exist outside her company. Finally, there is the challenge of the way to present the violence while still maintaining a PG-13 rating in order that your core audience can view it. A great deal of things are acceptable on a page that wouldn't be over a screen. So how certain moments are depicted may ultimately be within the director's hands.
Q: Have you been capable of consider future projects while working on The Hunger Games, or are you immersed inside world you might be currently creating so fully it is just too hard to consider new ideas?
A: I've a couple of seeds of ideas boating during my head but--given that much of my focus is still 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 through which one boy then one girl from each of 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 curiosity about seeing who wins. The contestants are often unknown, which makes them relatable. Sometimes they have very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I find very disturbing. There's also the possibility for desensitizing the audience, to ensure that once they see real tragedy playing out on, say, the news, it does not contain the impact it should.
Q: Should you were instructed to compete inside 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 accustomed to be trained in sword-fighting, I guess my best hope will be to obtain hold of the rapier if there were one available. But the truth is I'd probably get of a four in Training.
Q: What does one hope readers will come away with once they read The Hunger Games trilogy?
A: Questions about how elements of the books might be relevant of their own lives. And, if they are disturbing, what they might do about them.
Q: What were some of your respective 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 can be for world control. While it can be a clever twist about the original plot, it indicates that there is certainly less focus on the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life into a less vibrant Katniss by displaying despair both at those she feels responsible for killing and and also at her own motives and choices. This is 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 in the rebels as well as the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are very well evidenced as part of his voice, which goes from rage to puzzlement to a unsure resume 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 as an outside chronicler in giving listeners just “the facts” but also respects the individuality and unique challenges of every of 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.
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