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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 can they think should pay for the unrest? Katniss. And what's worse, President Snow has managed to get clear that no-one else is safe 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 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 like a trilogy. Did it genuinely end the strategies by which you planned it in the beginning?
A: Very much so. While Some know every detail, of course, the arc from the story from gladiator game, to revolution, to war, on the eventual outcome remained constant throughout the writing process.
Q: We understand you worked around the initial screenplay for the film being based on The Hunger Games. What may 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 get condensed to fit the newest form. Then there is the question of methods best to look at the sunday paper told in the first person and offer tense and transform it right into a satisfying dramatic experience. In the novel, you don't ever leave Katniss for a second and therefore are privy to any or all of her thoughts so you may need a way to dramatize her inner world and to create it possible for other characters to exist outside of her company. Finally, there's the challenge of how you can present the violence while still maintaining a PG-13 rating so that your core audience can view it. A large amount of things are acceptable on the page that wouldn't be on a screen. So how certain moments are depicted could eventually be in the director's hands.
Q: Are you able to consider future projects while working on The Hunger Games, or are you immersed inside the world you're currently creating so fully who's is too difficult to take into consideration new ideas?
A: We've a few seeds of ideas going swimming during my head but--given much of my focus continues to be 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 an annual televised event in which one boy and something girl from each of the twelve districts is expected to participate in a fight-to-the-death on live TV. Exactly what do you think that 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 interest in seeing who wins. The contestants are usually unknown, which ensures they are relatable. Sometimes they've very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I've found very disturbing. There's also the potential for desensitizing the audience, in order that once they see real tragedy playing out on, say, the news, it won't hold the impact it should.
Q: In case you were expected to compete inside the Hunger Games, exactly what do you think your skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I had been trained in sword-fighting, I guess my best hope would be to acquire hold of a rapier if there was one available. But reality is I'd probably get about a four in Training.
Q: What can you hope readers should come away with once they read The Hunger Games trilogy?
A: Questions about how elements of the books might be relevant in their own lives. And, if they are 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 this time around it 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 and much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life in to a less vibrant Katniss by displaying despair both at those she feels in charge of killing and at her own motives and choices. This is definitely an older, wiser, sadder, and intensely 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 along with the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are very well evidenced in the voice, which goes from rage to puzzlement for an unsure come back to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and a great deal of confused—very real with distinct voices and agendas/concerns. She acts as 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 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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