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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 will they think should pay to the unrest? Katniss. And what's worse, President Snow has made it 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 be one from 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 in the start that The Hunger Games story was intended as a trilogy. Did it actually end the strategies by which you planned it in the beginning?
A: Very much so. While I didn't know every detail, of course, the arc in the story from gladiator game, to revolution, to war, on the eventual outcome remained constant through the writing process.
Q: We understand you worked about the initial screenplay to get a film being based on The Hunger Games. What is the biggest distinction between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. If you are adapting a novel in a two-hour movie you can't take everything with you. The story has being condensed to suit the newest form. Then you have the question of methods best to adopt a magazine told inside the first person and offer tense and transform it in a satisfying dramatic experience. In the novel, you don't ever leave Katniss for a second and therefore are privy to all of her thoughts so you will need a strategy to dramatize her inner world and to create it possible for other characters to exist outside her company. Finally, there's the challenge of the way to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A lots of the situation is acceptable on a page that couldn't survive over a screen. So how certain moments are depicted will ultimately be in the director's hands.
Q: Are you currently in a position to consider future projects while working on The Hunger Games, or are you immersed in the world you're currently creating so fully it is just too challenging to think about new ideas?
A: We have several seeds of ideas floating around within my head but--given much of my focus remains on The Hunger Games--it will likely 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 and something girl from each from the twelve districts is instructed to participate in a fight-to-the-death on live TV. Exactly what do you think that the benefit 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 generally unknown, which makes them relatable. Sometimes they've got very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I find very disturbing. There's also the potential for desensitizing the audience, in order that when they see real tragedy playing out on, say, the news, it doesn't hold the impact it should.
Q: If you were forced to compete in the Hunger Games, what can you imagine your special skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I became trained in sword-fighting, I guess my best hope will be to get hold of a rapier if there was clearly one available. But the reality is I'd probably get of a four in Training.
Q: What does one hope readers should come away with once they read The Hunger Games trilogy?
A: Questions about how elements from the books may be relevant of their own lives. And, if they are disturbing, what you might do about them.
Q: What were some of the favorite novels when you're 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 a more Hunger Game, but this time it is for world control. While it can be a clever twist for the original plot, it means that there exists less focus on the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life into a less vibrant Katniss by displaying despair both at those she feels accountable for killing and and also at her very own 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 the victim of President Snow, who uses Peeta to make an endeavor to control Katniss. Peeta's struggles are very evidenced in his voice, which goes from rage to puzzlement for an unsure go 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 in addition respects the individuality and different challenges of every of the main characters. A successful completion of your 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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