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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other 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 that unrest? Katniss. And what's worse, President Snow has caused it to be clear that no one else is protected 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 being one with the most talked about books with 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 being a trilogy. Did it genuinely end the best way you planned it through the beginning?
A: Very much so. While I did not know every detail, of course, the arc from 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 around the initial screenplay for the film to become according to The Hunger Games. What could be the biggest distinction between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. If you are adapting a novel in to a two-hour movie you can't take everything with you. The story has to become condensed to suit the modern form. Then there's the question of how best to consider a novel told within the first person and provides tense and transform it right into a satisfying dramatic experience. In the novel, you won't ever leave Katniss for the second and therefore are privy to any any of her thoughts so you'll need a way to dramatize her inner world and to create it feasible for other characters to exist outside of her company. Finally, there's the challenge of the way to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A large amount of situations are acceptable on the page that wouldn't be over a screen. But wait, how certain moments are depicted will ultimately be within the director's hands.
Q: Are you currently capable to consider future projects while working on The Hunger Games, or are you immersed inside world you are currently creating so fully which it is too challenging to consider new ideas?
A: I've a number of seeds of ideas floating around inside my head but--given that much of my focus remains 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 a yearly televised event by which one boy then one girl from each of the twelve districts is instructed to participate in a fight-to-the-death on live TV. Exactly what do you think the benefit of reality television is--to both kids and adults?
A: Well, they're often create as games and, like sporting events, there's an interest in seeing who wins. The contestants are generally unknown, which makes them relatable. Sometimes they've very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I find very disturbing. There's also the opportunity for desensitizing the audience, to ensure that when they see real tragedy playing out on, say, the news, it doesn't have the impact it should.
Q: In the event you were forced to compete inside Hunger Games, what do you think 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 acquire hold of a rapier if there were one available. But reality is I'd probably get with relation to its a four in Training.
Q: What would you hope readers will come away with when they read The Hunger Games trilogy?
A: Questions about how elements from the books may be relevant in their own lives. And, if they're disturbing, what you 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 single more Hunger Game, but now it really is for world control. While it is often a clever twist on the original plot, this means that there is less focus around the individual characters and 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 in charge of killing and and also at her motives and choices. This is definitely 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 in the rebels and 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 to a unsure resume sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and a great deal 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 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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