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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other from the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who can they think should pay for that unrest? Katniss. And what's worse, President Snow has caused it to be clear that no person else is safe 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 with the most mentioned books in the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said from the start that The Hunger Games story was intended as a trilogy. Did it genuinely end the way you planned it from the beginning?
A: Very much so. While I did not know every detail, of course, the arc with the story from gladiator game, to revolution, to war, on the eventual outcome remained constant throughout the writing process.
Q: We understand you worked on the initial screenplay for any film being based on The Hunger Games. What will be the biggest distinction between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. If you are adapting a novel into a two-hour movie you can not take everything with you. The story has being condensed to fit the new form. Then there's the question of how best to consider a book told inside first person and present tense and transform it in to a satisfying dramatic experience. In the novel, you never leave Katniss to get a second and therefore are privy to all of her thoughts so you may need a method to dramatize her inner world and to make it easy for other characters to exist outside of her company. Finally, you have the challenge of how you can present the violence while still maintaining a PG-13 rating in order that your core audience can view it. A large amount of the situation is acceptable over a page that wouldn't be on a screen. But exactly how certain moments are depicted may ultimately be in the director's hands.
Q: Are you currently capable of consider future projects while working on The Hunger Games, or are you immersed in the world you are currently creating so fully that it is simply too difficult to take into consideration new ideas?
A: I've a couple of seeds of ideas boating within my head but--given much of my focus is still on The Hunger Games--it will probably be awhile before one fully emerges and that i can commence to develop it.
Q: The Hunger Games is a yearly televised event by which one boy and one girl from each from the twelve districts is made to participate in a fight-to-the-death on live TV. What do you believe the selling point of reality television is--to both kids and adults?
A: Well, they're often create 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 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 opportunity for desensitizing the audience, in order that after they see real tragedy playing out on, say, the news, it does not contain the impact it should.
Q: In the event you were instructed to compete within the Hunger Games, exactly what do you believe 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 would be to get hold of your rapier if there is one available. But the truth is I'd probably get with relation to a four in Training.
Q: What do you hope readers should come away with once they read The Hunger Games trilogy?
A: Questions about how exactly elements in the books could be relevant in their own lives. And, if they are 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 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 this time it really is for world control. While it is really a clever twist about the original plot, it indicates that there's less focus for the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue 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 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 with the rebels and also the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are very well evidenced as part of his voice, which goes from rage to puzzlement to an unsure return to sweetness. McCormick also helps to create the secondary characters—some malevolent, others benevolent, and a lot of 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 and every 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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