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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out from 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 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 be one from the most talked about books in 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 being a trilogy. Did it really end the way you planned it from the beginning?
A: Very much so. While I didn't know every detail, of course, the arc in the story from gladiator game, to revolution, to war, on the eventual outcome remained constant through the writing process.
Q: We understand you worked on the initial screenplay for the film to get based on The Hunger Games. What will be the biggest distinction between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. When you are adapting a novel into a two-hour movie you can't take everything with you. The story has to get condensed to fit the newest form. Then there is the question of methods best to consider a book told in 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 will need a strategy to dramatize her inner world and to generate it feasible for other characters to exist beyond 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 lot of situations are acceptable on a page that would not be on the screen. But how certain moments are depicted will ultimately be in the director's hands.
Q: Do you imagine you're capable to consider future projects while working on The Hunger Games, or are you immersed inside world you are currently creating so fully it is simply too difficult to think about new ideas?
A: We've a few seeds of ideas boating inside my head but--given a whole lot of of my focus remains on The Hunger Games--it will likely be awhile before one fully emerges and i also can commence to develop it.
Q: The Hunger Games is an annual televised event by which one boy then one girl from each in the twelve districts is instructed to participate in a fight-to-the-death on live TV. Exactly what do you think 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 interest in seeing who wins. The contestants are often unknown, which makes them relatable. Sometimes they've got very talented people performing. Then there's 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, so that after they see real tragedy playing out on, say, the news, this doesn't happen hold the impact it should.
Q: In the event you were expected to compete inside the Hunger Games, what can you imagine 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 could be to get hold of the rapier if there was clearly one available. But the facts is I'd probably get in relation to its a four in Training.
Q: What would you hope readers will come away with when they read The Hunger Games trilogy?
A: Questions about how precisely 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 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 more Hunger Game, but now it really is for world control. While it is really a clever twist on the original plot, it indicates that there exists less focus about 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 displaying despair both at those she feels accountable for killing and possibly at her motives and choices. This is surely 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 make an endeavor to control Katniss. Peeta's struggles are very well evidenced in the voice, which goes from rage to puzzlement to a unsure go back to sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and several confused—very real with distinct voices and agendas/concerns. She acts as an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and different challenges of each and every in the main characters. A successful completion of your 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.
