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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 for 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 to become 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 in the start that The Hunger Games story was intended being a trilogy. Did it actually end the way you planned it from the beginning?
A: Very much so. While Some know every detail, of course, the arc of the story from gladiator game, to revolution, to war, to the eventual outcome remained constant through the entire writing process.
Q: We understand you worked about the initial screenplay for any film to get based on The Hunger Games. What will be 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 in to a two-hour movie you simply can't take everything with you. The story has to get condensed to suit the newest form. Then there's the question of methods best to consider a novel told inside first person and offer tense and transform it into a satisfying dramatic experience. In the novel, you never leave Katniss for the second and therefore are privy to all of her thoughts so you need a way to dramatize her inner world and to make it feasible for other characters to exist beyond her company. Finally, you have the challenge of how to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A lots of things are acceptable on a page that couldn't survive over a screen. But how certain moments are depicted could eventually be within the director's hands.
Q: Are you in a posture to consider future projects while working on The Hunger Games, or are you immersed inside world you're currently creating so fully which it is too hard to think about new ideas?
A: We have a couple of seeds of ideas going swimming inside my head but--given much of my focus remains on The Hunger Games--it is going to be awhile before one fully emerges i can commence to develop it.
Q: The Hunger Games is an annual televised event through which one boy then one girl from each from the twelve districts is forced to participate in the fight-to-the-death on live TV. Exactly what do you think that 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 curiosity about 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 have found very disturbing. There's also the potential for desensitizing the audience, so that whenever they see real tragedy playing out on, say, the news, this doesn't happen possess the impact it should.
Q: In case you were instructed to compete inside Hunger Games, so what can you think that your special skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I was trained in sword-fighting, I guess my best hope can be to get hold of the rapier if there is one available. But reality is I'd probably get in relation to a four in Training.
Q: What would you hope readers will come away with whenever they read The Hunger Games trilogy?
A: Questions about how elements from the books could possibly be relevant in their own lives. And, if they are disturbing, what they might do about them.
Q: What were some of your 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 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 on this occasion it really is for world control. While it can be a clever twist for the original plot, it means that there exists less focus about the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life in to 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 definitely an older, wiser, sadder, and extremely 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 of the rebels along with the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are very evidenced in the voice, which goes from rage to puzzlement for an unsure resume sweetness. McCormick also helps to create the secondary characters—some malevolent, others benevolent, and lots of confused—very real with distinct voices and agendas/concerns. She acts such as an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and unique challenges of each and every from the main characters. A successful completion of your 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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