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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 made it clear that nobody else is safe 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 with the most discussed books with 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 being a trilogy. Did it really end the best way you planned it from your 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, towards the eventual outcome remained constant through the writing process.
Q: We understand you worked on the initial screenplay for any film to get depending on The Hunger Games. What will be the biggest difference between writing a novel and writing a screenplay?
A: There were several significant differences. Time, for starters. When you find yourself adapting a novel into a two-hour movie you can't take everything with you. The story has to get condensed to fit the brand new form. Then you have the question of how best to look at a novel told in the first person and present tense and transform it into a satisfying dramatic experience. In the novel, you don't ever leave Katniss for a second and therefore are privy to any or all of her thoughts so you need a method to dramatize her inner world and to produce it possible for other characters to exist beyond her company. Finally, you have the challenge of how you can present the violence while still maintaining a PG-13 rating so that your core audience can view it. A great deal of things are acceptable on the page that may not be on a screen. So how certain moments are depicted may ultimately be within the director's hands.
Q: Have you been in a situation to consider future projects while working on The Hunger Games, or are you immersed inside world you eventually be currently creating so fully which it is simply too challenging to take into consideration new ideas?
A: I've a few seeds of ideas boating inside my head but--given a great deal of of my focus is still on The Hunger Games--it is going to be awhile before one fully emerges and I can commence to develop it.
Q: The Hunger Games is a yearly televised event through which one boy and something girl from each from the twelve districts is expected to participate in the fight-to-the-death on live TV. Exactly what do you imagine 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 desire for seeing who wins. The contestants are often unknown, which makes them relatable. Sometimes they've got very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I have found very disturbing. There's also the potential for desensitizing the audience, to ensure that once they see real tragedy playing out on, say, the news, this doesn't happen hold the impact it should.
Q: In case you were made to compete inside Hunger Games, so what can you believe your skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I utilized to be trained in sword-fighting, I guess my best hope could be to obtain hold of the rapier if there is one available. But reality is I'd probably get with regards to a four in Training.
Q: What would you hope readers should come away with when they read The Hunger Games trilogy?
A: Questions about how precisely elements from the books could possibly be relevant of their own lives. And, when they are disturbing, what you might do about them.
Q: What were some of the favorite novels when you are 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 from 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 can be for world control. While it is often a clever twist about the original plot, this means that there exists less focus for the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life in to a less vibrant Katniss by displaying despair both at those she feels responsible for killing and possibly at her motives and choices. This is 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 with the rebels and the victim of President Snow, who uses Peeta to make an attempt to control Katniss. Peeta's struggles are well evidenced in the voice, which goes from rage to puzzlement for an unsure resume 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 also respects the individuality and different challenges of each one with the main characters. A successful completion of the 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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