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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out in the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay for the unrest? Katniss. And what's worse, President Snow has managed to get clear that no-one else remains safe and secure 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 in 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 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 for the initial screenplay for a film to get according to The Hunger Games. What will be the biggest difference between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. When you discover yourself adapting a novel in to a two-hour movie you can not take everything with you. The story has to get condensed to match the new form. Then there's the question of how best to look at the sunday paper told in the first person and provides tense and transform it in a satisfying dramatic experience. In the novel, you won't ever leave Katniss for a second and so are privy to all of her thoughts so you will need a strategy to dramatize her inner world and to generate it possible for other characters to exist outside her company. Finally, there's the challenge of how to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A lot of situations are acceptable on the page that may not be on the screen. But wait, how certain moments are depicted could eventually be within the director's hands.
Q: Are you capable to consider future projects while working on The Hunger Games, or are you immersed in the world you are currently creating so fully it is just too hard to consider new ideas?
A: I've a couple of seeds of ideas floating around during my head but--given a great deal of of my focus is still on The Hunger Games--it will likely be awhile before one fully emerges i can begin to develop it.
Q: The Hunger Games is an annual televised event through which one boy the other girl from each from the twelve districts is expected to participate in the fight-to-the-death on live TV. Exactly what do you think the selling point of reality television is--to both kids and adults?
A: Well, they're often create as games and, like sporting events, there's an curiosity about seeing who wins. The contestants are often unknown, which means 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, to ensure that whenever they see real tragedy playing out on, say, the news, this doesn't happen have the impact it should.
Q: If you were forced to compete within the Hunger Games, what can you think your 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 could be to get hold of a rapier if there was clearly one available. But the facts is I'd probably get of a four in Training.
Q: What do you hope readers should come away with when they read The Hunger Games trilogy?
A: Questions about how exactly elements with the books could be relevant inside their own lives. And, if they're disturbing, what they might do about them.
Q: What were some of your respective favorite novels when you are 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 of 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 a single more Hunger Game, but this time it is for world control. While it is a clever twist on the original plot, it indicates that there's less focus on the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life into a less vibrant Katniss by showing her despair both at those she feels accountable for killing and at her motives and choices. This is 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 along with the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are very well evidenced in the voice, which goes from rage to puzzlement to an unsure come back to sweetness. McCormick also helps to produce the secondary characters—some malevolent, others benevolent, and lots of confused—very real with distinct voices and agendas/concerns. She acts as an outside chronicler in giving listeners just “the facts” but also respects the individuality and unique challenges of each and every in the main characters. A successful completion of the 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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