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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out from the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who will they think should pay to the unrest? Katniss. And what's worse, President Snow has caused it to be 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 be one in the most discussed 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 as being a trilogy. Did it genuinely end just how you planned it in the beginning?
A: Very much so. While I didnrrrt 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 for the initial screenplay to get a film being depending on The Hunger Games. What may be the biggest distinction between writing a novel and writing a screenplay?
A: There were several significant differences. Time, for starters. When you discover yourself adapting a novel right into a two-hour movie you can't take everything with you. The story has being condensed to fit the brand new form. Then there's the question of how best to adopt a book told inside the first person and offer tense and transform it into a satisfying dramatic experience. In the novel, you don't ever leave Katniss to get a second and therefore are privy to all or any of her thoughts so you'll need a approach to dramatize her inner world and to create it possible for other characters to exist beyond her company. Finally, there's the challenge of how to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A great deal of situations are acceptable on a page that couldn't survive over a screen. But how certain moments are depicted may ultimately be inside the director's hands.
Q: Do you think you're able to consider future projects while working on The Hunger Games, or are you immersed inside world you are currently creating so fully who's is simply too hard to take into consideration new ideas?
A: We've a few seeds of ideas floating around in 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 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 forced to participate in a very fight-to-the-death on live TV. 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 desire for seeing who wins. The contestants are usually unknown, which means they are relatable. Sometimes they've got very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I have found very disturbing. There's also the potential for desensitizing the audience, to ensure after they see real tragedy playing out on, say, the news, it won't possess the impact it should.
Q: In case you were forced to compete inside Hunger Games, what do you believe 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 the rapier if there was clearly one available. But the reality is I'd probably get in relation to its a four in Training.
Q: What can you hope readers can come away with whenever they read The Hunger Games trilogy?
A: Questions about how elements in the books might be relevant in their own lives. And, when they are disturbing, whatever they might do about them.
Q: What were some of one's 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 from 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 one more Hunger Game, but on this occasion it can be for world control. While it can be a clever twist around the original plot, it indicates that there is certainly less focus on 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 displaying despair both at those she feels accountable for killing and and at her motives and choices. This is surely 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 with the rebels and also the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are very well evidenced in his voice, which goes from rage to puzzlement for an unsure go back to sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and many 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 each 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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