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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other with the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay for that unrest? Katniss. And what's worse, President Snow has made it 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 being one of the most brought up books of 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 genuinely end the way you planned it from your beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc in the story from gladiator game, to revolution, to war, for the eventual outcome remained constant through the writing process.
Q: We understand you worked around the initial screenplay for a film to become depending on The Hunger Games. What is the biggest difference between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. When you're adapting a novel in a two-hour movie you can't take everything with you. The story has to become condensed to fit the brand new form. Then there's the question of methods best to consider a novel told inside the first person and offer tense and transform it into a satisfying dramatic experience. In the novel, you never leave Katniss to get a second and are privy to all of her thoughts so you may need a way to dramatize her inner world and to produce it possible for other characters to exist beyond her company. Finally, there's the challenge of the easiest way to present the violence while still maintaining a PG-13 rating in order that your core audience can view it. A large amount of things are acceptable on the page that couldn't survive over a screen. But wait, how certain moments are depicted will ultimately be inside director's hands.
Q: Do you think you're in a situation to consider future projects while working on The Hunger Games, or are you immersed inside world you might be currently creating so fully which it is just too hard to think about new ideas?
A: I have a couple of seeds of ideas boating in my head but--given much of my focus continues to be on The Hunger Games--it will likely be awhile before one fully emerges i can commence to develop it.
Q: The Hunger Games is a yearly televised event through which one boy the other girl from each with the twelve districts is forced 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 create as games and, like sporting events, there's an curiosity about seeing who wins. The contestants are generally unknown, which makes them relatable. Sometimes they've got very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I have found very disturbing. There's also the potential for desensitizing the audience, in order that after they see real tragedy playing out on, say, the news, this doesn't happen have the impact it should.
Q: In the wedding you were made to compete within the Hunger Games, what do you think that your special 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 could be to acquire hold of your rapier if there was clearly one available. But the facts is I'd probably get with relation to a four in Training.
Q: What do you hope readers will come away with whenever they read The Hunger Games trilogy?
A: Questions about how elements of the books could be relevant of their own lives. And, if they're disturbing, what they might do about them.
Q: What were some of the favorite novels when you were 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 a single more Hunger Game, but now it's for world control. While it can be a clever twist for the original plot, it means that there is less focus around the individual characters plus much 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 accountable for killing and 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 and the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very well evidenced in his voice, which goes from rage to puzzlement for an unsure go back to sweetness. McCormick also makes 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 additionally respects the individuality and unique challenges of each one 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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