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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made 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 caused it to be clear that no-one else is safe 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 become one of the most discussed 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 like a trilogy. Did it really end just how you planned it through the beginning?
A: Very much so. While Some know every detail, of course, the arc of 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 the film to get based on The Hunger Games. What will be the biggest difference between writing a novel and writing a screenplay?
A: There were several significant differences. Time, for starters. When you discover yourself adapting a novel in to a two-hour movie you can not take everything with you. The story has to get condensed to suit the new form. Then there is the question of methods best to take the sunday paper told within the first person and offer tense and transform it in a satisfying dramatic experience. In the novel, you don't ever leave Katniss for a second and so are privy to any or 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 outside her company. Finally, you have the challenge of how you can present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A lots of situations are acceptable on the page that may not be on the screen. But how certain moments are depicted will ultimately be within the director's hands.
Q: Are you capable of consider future projects while working on The Hunger Games, or are you immersed inside world you're currently creating so fully it is too hard to think about new ideas?
A: We've a number of seeds of ideas floating around during my head but--given that much of my focus continues to be on The Hunger Games--it will probably be awhile before one fully emerges and that i can commence to develop it.
Q: The Hunger Games is an annual televised event where one boy and one girl from each of the twelve districts is instructed to participate in a very fight-to-the-death on live TV. What can you think that 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 fascination with seeing who wins. The contestants are generally unknown, which ensures they are relatable. Sometimes they've very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I find very disturbing. There's also the opportunity 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 expected to compete in the Hunger Games, so what can you think that your 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 obtain hold of the rapier if there was one available. But reality is I'd probably get about a four in Training.
Q: What do you hope readers can come away with whenever they read The Hunger Games trilogy?
A: Questions about how exactly elements of the books could possibly be relevant inside their own lives. And, if they are disturbing, what you 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 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 in a single more Hunger Game, but this time it really is for world control. While it is often a clever twist for 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 continues to breathe life in a less vibrant Katniss by showing her despair both at those she feels in charge of killing and and at her own motives and choices. This is surely an older, wiser, sadder, and very 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 as well as the victim of President Snow, who uses Peeta to try 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 helps to produce the secondary characters—some malevolent, others benevolent, and several confused—very real with distinct voices and agendas/concerns. She acts just like an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and different challenges of each one in 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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