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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 do they think should pay for your unrest? Katniss. And what's worse, President Snow has caused it to be clear that no-one 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 get one of the most brought up books from 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 the beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc in the story from gladiator game, to revolution, to war, for the eventual outcome remained constant throughout the writing process.
Q: We understand you worked about the initial screenplay for the film to get according to The Hunger Games. What will be the biggest difference between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. If you are adapting a novel into a two-hour movie you simply can't take everything with you. The story has to get condensed to suit the newest form. Then you have the question of how best to consider the sunday paper told in the first person and provides tense and transform it in to a satisfying dramatic experience. In the novel, you don't ever leave Katniss for the second and are privy to all of her thoughts so you'll need a strategy to dramatize her inner world and to produce it easy for other characters to exist outside of her company. Finally, there's the challenge of the simplest way to present the violence while still maintaining a PG-13 rating in order that your core audience can view it. A lot of the situation is acceptable on a page that couldn't survive on a screen. But how certain moments are depicted will ultimately be in the director's hands.
Q: Do you believe you're capable of consider future projects while working on The Hunger Games, or are you immersed inside the world you might be currently creating so fully that it is just too difficult to consider new ideas?
A: We have several seeds of ideas floating around inside my head but--given much of my focus remains on The Hunger Games--it will probably be awhile before one fully emerges i can commence to develop it.
Q: The Hunger Games is once a year televised event in which one boy the other girl from each in the twelve districts is made to participate inside a fight-to-the-death on live TV. What can you think the appeal of reality television is--to both kids and adults?
A: Well, they're often setup as games and, like sporting events, there's an desire for seeing who wins. The contestants are generally unknown, which means they are relatable. Sometimes they have very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I've found very disturbing. There's also the potential for desensitizing the audience, in order that when they see real tragedy playing out on, say, the news, this doesn't happen have the impact it should.
Q: In case you were made to compete inside 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 became trained in sword-fighting, I guess my best hope could be to get hold of the rapier if there was one available. But reality is I'd probably get in relation to its a four in Training.
Q: What would you hope readers will come away with after they read The Hunger Games trilogy?
A: Questions about how precisely elements in the books could possibly be relevant of their own lives. And, if they are disturbing, the things they might do about them.
Q: What were some of your respective 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 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 about the original plot, it indicates that there exists less focus about the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life in a less vibrant Katniss by showing her despair both at those she feels accountable for killing and at her own motives and choices. This is surely an older, wiser, sadder, and very 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 as well as the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very evidenced as part of his voice, which goes from rage to puzzlement to a unsure return 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 like an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and unique challenges of each of 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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