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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out in the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay to the unrest? Katniss. And what's worse, President Snow has caused it to be clear that nobody else remains safe and secure either. Not Katniss's family, not her friends, not individuals of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises being one from the most talked about books from 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 like a trilogy. Did it actually end the strategies by which you planned it from your beginning?
A: Very much so. While I didn't know every detail, of course, the arc of 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 around the initial screenplay for the film being according to The Hunger Games. What may be the biggest difference between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. When you are adapting a novel right into a two-hour movie you simply can't take everything with you. The story has to get condensed to match the newest form. Then you have the question of methods best to take a book told within the first person and offer tense and transform it right into a satisfying dramatic experience. In the novel, you won't ever leave Katniss to get a second and are privy to any any of her thoughts so you will need a approach to dramatize her inner world and to create it feasible for other characters to exist outside of her company. Finally, there is the challenge of the way to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A great deal of situations are acceptable over a page that wouldn't be on the screen. But wait, how certain moments are depicted may ultimately be within the director's hands.
Q: Are you currently able to consider future projects while working on The Hunger Games, or are you immersed within the world you might be currently creating so fully it is simply too challenging to think about new ideas?
A: I've a couple of seeds of ideas going swimming within my head but--given a good deal of of my focus continues to be 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 once a year televised event where one boy the other girl from each with the twelve districts is instructed to participate in a very 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 usually unknown, which ensures they are relatable. Sometimes they've very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I find very disturbing. There's also the possibility for desensitizing the audience, to ensure once they see real tragedy playing out on, say, the news, it does not hold the impact it should.
Q: In the event you were made to compete in the Hunger Games, so what can you believe 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 will be to obtain hold of a rapier if there was one available. But the truth is I'd probably get in relation to a four in Training.
Q: What can you hope readers should come away with whenever they read The Hunger Games trilogy?
A: Questions about how precisely elements with the books could be relevant inside their own lives. And, if they are disturbing, what you 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 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 one more Hunger Game, but now it is for world control. While it is a clever twist about the original plot, it means that there is certainly less focus on the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life right into a less vibrant Katniss by showing her despair both at those she feels accountable for killing and at her 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 also the victim of President Snow, who uses Peeta to make an attempt to control Katniss. Peeta's struggles are very well evidenced in the 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 just like an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and different challenges of each one with 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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