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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 can they think should pay to the unrest? Katniss. And what's worse, President Snow has caused it to be clear that no person 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 being one with 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 in the start that The Hunger Games story was intended as being a trilogy. Did it actually end the strategies by which you planned it in the beginning?
A: Very much so. While Some 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 on the initial screenplay for the film to become according to The Hunger Games. What is the biggest difference between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. When you discover yourself adapting a novel into a two-hour movie you can't take everything with you. The story has to become condensed to suit the brand new form. Then there's the question of methods best to consider a magazine told within the first person and present tense and transform it into a satisfying dramatic experience. In the novel, you won't ever leave Katniss to get a second and therefore are privy to any or all of her thoughts so you may need a strategy to dramatize her inner world and to create it feasible for other characters to exist outside her company. Finally, you have the challenge of how to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A lot of the situation is acceptable on a page that wouldn't be on the screen. But exactly how certain moments are depicted could eventually be inside the director's hands.
Q: Are you able to consider future projects while working on The Hunger Games, or are you immersed within the world you're currently creating so fully who's is simply too challenging to take into consideration new ideas?
A: I've several seeds of ideas floating around in my head but--given very much of my focus remains on The Hunger Games--it will probably be awhile before one fully emerges and that i can start to develop it.
Q: The Hunger Games is once a year televised event by which one boy and one girl from each with the twelve districts is instructed to participate in the fight-to-the-death on live TV. What do you believe 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 means they are relatable. Sometimes they've got very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I've found very disturbing. There's also the potential for desensitizing the audience, to ensure when they see real tragedy playing out on, say, the news, this doesn't happen hold the impact it should.
Q: Should you were forced to compete inside Hunger Games, what do you believe your skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I had been trained in sword-fighting, I guess my best hope will be to get hold of your rapier if there were one available. But reality is I'd probably get with relation to a four in Training.
Q: What can you hope readers will come away with after they read The Hunger Games trilogy?
A: Questions about how elements of the books might be relevant within their own lives. And, if they're disturbing, the things they might do about them.
Q: What were some of your respective favorite novels when you're 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 with 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 one more Hunger Game, but this time around it really is for world control. While it is often a clever twist around the original plot, it means that there's less focus on the individual characters plus 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 responsible for killing and at her motives and choices. This is surely an older, wiser, sadder, and incredibly 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 along with the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are well evidenced as part of his voice, which goes from rage to puzzlement to an unsure go back to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and several confused—very real with distinct voices and agendas/concerns. She acts like an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and unique challenges of every with 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.
