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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out 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 your unrest? Katniss. And what's worse, President Snow has caused it to be clear that nobody else remains safe and secure 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 become one of the most brought up books in 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 genuinely end the best way you planned it through the beginning?
A: Very much so. While I didn't know every detail, of course, the arc from the story from gladiator game, to revolution, to war, for the eventual outcome remained constant through the writing process.
Q: We understand you worked on the initial screenplay to get a film to be according to The Hunger Games. What could be the biggest distinction between writing a novel and writing a screenplay?
A: There were several significant differences. Time, for starters. When you're adapting a novel in a two-hour movie you can not take everything with you. The story has to be condensed to suit the modern form. Then there's the question of how best to look at a book told inside first person and offer tense and transform it in a satisfying dramatic experience. In the novel, you never leave Katniss to get a second and so are privy to any or all of her thoughts so you'll need a approach to dramatize her inner world and to make it easy for other characters to exist beyond her company. Finally, there is the challenge of how to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A lots of things are acceptable on the page that couldn't survive over a screen. But how certain moments are depicted could eventually be inside director's hands.
Q: Are you capable of consider future projects while working on The Hunger Games, or are you immersed within the world you're currently creating so fully who's is too hard to consider new ideas?
A: We have a number of seeds of ideas going swimming during my head but--given a great deal of of my focus remains on The Hunger Games--it will likely be awhile before one fully emerges and that i can commence to develop it.
Q: The Hunger Games is a yearly televised event in which one boy and one girl from each with the twelve districts is instructed to participate in a fight-to-the-death on live TV. Exactly what do you imagine 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 there's the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I have found very disturbing. There's also the possibility for desensitizing the audience, so that when they see real tragedy playing out on, say, the news, it doesn't contain the impact it should.
Q: In case you were forced to compete inside the Hunger Games, what do you imagine 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 was one available. But the facts is I'd probably get in relation to its a four in Training.
Q: What can you hope readers will come away with when they read The Hunger Games trilogy?
A: Questions about how precisely elements of the books might be relevant inside their own lives. And, if they are disturbing, whatever they might do about them.
Q: What were some of one's 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 more Hunger Game, but this time around it is for world control. While it can be a clever twist around 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 a less vibrant Katniss by showing her despair both at those she feels accountable for killing and and also at her own 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 of the rebels as well as the victim of President Snow, who uses Peeta to make an endeavor to control Katniss. Peeta's struggles are very evidenced as part of his voice, which goes from rage to puzzlement to an unsure go back to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and lots of 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 unique challenges of each and every 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.
