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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 do they think should pay for the unrest? Katniss. And what's worse, President Snow has caused it to be clear that no person else is protected 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 in the most brought up books of the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said from your start that The Hunger Games story was intended being a trilogy. Did it actually end the best way you planned it from the beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc of the story from gladiator game, to revolution, to war, on the eventual outcome remained constant through the entire writing process.
Q: We understand you worked about the initial screenplay for a film to get based on The Hunger Games. What could be the biggest distinction between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. When you're adapting a novel in to a two-hour movie you can not take everything with you. The story has to become condensed to match the brand new form. Then there is the question of how best to adopt a novel told in the first person and provides tense and transform it into a satisfying dramatic experience. In the novel, you won't ever leave Katniss for a second and therefore are privy to any any of her thoughts so you may need a strategy to dramatize her inner world and to make it possible for other characters to exist beyond her company. Finally, there's the challenge of the way to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A large amount of the situation is acceptable on a page that may not be on the screen. So how certain moments are depicted will ultimately be within the director's hands.
Q: Are you in a position to consider future projects while working on The Hunger Games, or are you immersed within the world you occur to be currently creating so fully it is simply too hard to think about new ideas?
A: I have a couple of seeds of ideas going swimming within my head but--given that much of my focus remains on The Hunger Games--it will probably be awhile before one fully emerges and that i can start to develop it.
Q: The Hunger Games is once a year televised event by which one boy the other girl from each from the twelve districts is made to participate in a fight-to-the-death on live TV. What do you think that 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 fascination with seeing who wins. The contestants are usually unknown, which makes them relatable. Sometimes they have very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I've found very disturbing. There's also the possibility for desensitizing the audience, to ensure that whenever they see real tragedy playing out on, say, the news, it doesn't hold the impact it should.
Q: In case you were made to compete inside Hunger Games, what do you think that your 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 would be to have hold of your rapier if there was clearly one available. But the reality is I'd probably get of a four in Training.
Q: What do you hope readers should come away with when they read The Hunger Games trilogy?
A: Questions about how elements of the books could be relevant within their own lives. And, if they're disturbing, whatever 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 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 a single more Hunger Game, but now it can be for world control. While it is a clever twist for the original plot, this means that there's less focus around the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life right into a less vibrant Katniss by showing her despair both at those she feels accountable for killing and at her motives and choices. This is 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 as well as the victim of President Snow, who uses Peeta to make an endeavor to control Katniss. Peeta's struggles are very well evidenced in his voice, which goes from rage to puzzlement to a unsure come 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 just like an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and unique challenges of every in 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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