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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 can they think should pay to the unrest? Katniss. And what's worse, President Snow has managed to get clear that no person else is protected 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 to be one from the most talked about 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 really end the way you planned it from your beginning?
A: Very much so. While I did not know every detail, of course, the arc in the story from gladiator game, to revolution, to war, towards the eventual outcome remained constant throughout the writing process.
Q: We understand you worked for the initial screenplay for a film to get based on The Hunger Games. What may be the biggest difference 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 being condensed to fit the brand new form. Then there's the question of how best to look at a book told in the first person and present tense and transform it right into a satisfying dramatic experience. In the novel, you never leave Katniss to get a second and so are privy to any any of her thoughts so you'll need a strategy to dramatize her inner world and to produce it possible for other characters to exist beyond her company. Finally, you have the challenge of the best way to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A lots of the situation is acceptable on a page that couldn't survive on a screen. But wait, how certain moments are depicted will ultimately be inside director's hands.
Q: Are you in a situation to consider future projects while working on The Hunger Games, or are you immersed inside world you occur to be currently creating so fully it is too hard to think about new ideas?
A: We've several seeds of ideas going swimming in my head but--given very much of my focus is still on The Hunger Games--it is going to be awhile before one fully emerges and I can start to develop it.
Q: The Hunger Games is an annual televised event where one boy and something girl from each with the twelve districts is made 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 curiosity about seeing who wins. The contestants are usually unknown, which ensures they are relatable. Sometimes they've got very talented people performing. Then there is 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, in order that whenever they see real tragedy playing out on, say, the news, it does not possess the impact it should.
Q: Should you were instructed to compete within the Hunger Games, exactly what do you think that your special 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 could be to have 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 will come away with after they read The Hunger Games trilogy?
A: Questions about how precisely elements from the books might be relevant of their own lives. And, if they're disturbing, what you might do about them.
Q: What were some of your 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 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 a single more Hunger Game, but this time it's for world control. While it is really a clever twist on the original plot, it means that there exists less focus about the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life into a less vibrant Katniss by showing her despair both at those she feels in charge of killing and and also at her own 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 from the rebels along with the victim of President Snow, who uses Peeta to make an attempt to control Katniss. Peeta's struggles are very evidenced in his voice, which goes from rage to puzzlement to an unsure resume sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and many 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 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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