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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out in 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 made it clear that no one else is safe 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 be one with the most discussed books in 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 being a trilogy. Did it actually end the best way you planned it from the beginning?
A: Very much so. While I did not know every detail, of course, the arc of the story from gladiator game, to revolution, to war, for the eventual outcome remained constant through the entire writing process.
Q: We understand you worked about the initial screenplay to get a film to become depending on The Hunger Games. What may be the biggest difference between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. When you are adapting a novel into a two-hour movie you cannot take everything with you. The story has being condensed to suit the new form. Then you have the question of methods best to take a book told inside first person and present tense and transform it in a satisfying dramatic experience. In the novel, you won't ever leave Katniss for the second and therefore are privy to any or all of her thoughts so you may 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 the best way to present the violence while still maintaining a PG-13 rating in order that your core audience can view it. A lot of things are acceptable on the page that wouldn't be on the screen. But wait, how certain moments are depicted could eventually be inside the director's hands.
Q: Are you in a posture to consider future projects while working on The Hunger Games, or are you immersed in the world you might be currently creating so fully who's is too challenging to take into consideration new ideas?
A: I have several seeds of ideas floating around within my head but--given a ton of of my focus continues to be on The Hunger Games--it will likely be awhile before one fully emerges and i also can begin to develop it.
Q: The Hunger Games is an annual televised event in which one boy the other girl from each from the twelve districts is made to participate in the fight-to-the-death on live TV. What can you think the selling point 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 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've found very disturbing. There's also the potential for desensitizing the audience, to ensure that whenever they see real tragedy playing out on, say, the news, it does not possess the impact it should.
Q: If you were made to compete within the Hunger Games, exactly what do you think your special skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I accustomed to be trained in sword-fighting, I guess my best hope will be to have hold of your rapier if there was clearly one available. But reality is I'd probably get in relation to its a four in Training.
Q: What do you hope readers can come away with when they read The Hunger Games trilogy?
A: Questions about how elements of 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 had been 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 in 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 now it's for world control. While it is really a clever twist for the original plot, it indicates that there exists less focus for the individual characters and 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 at her very own 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 as well as the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are well 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 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 additionally respects the individuality and different challenges of each and every with the main characters. A successful completion of an 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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