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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 for your 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 be one in the most mentioned books from the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said from the start that The Hunger Games story was intended being a trilogy. Did it genuinely end the way you planned it in the beginning?
A: Very much so. While Some know every detail, of course, the arc of the story from gladiator game, to revolution, to war, to the eventual outcome remained constant through the writing process.
Q: We understand you worked around the initial screenplay to get a film to become based on The Hunger Games. What may be the biggest distinction between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. If you are adapting a novel right into a two-hour movie you can not take everything with you. The story has to be condensed to suit the new form. Then there's the question of methods best to consider a novel told inside first person and provides tense and transform it into a satisfying dramatic experience. In the novel, you don't ever leave Katniss for a second and so are privy to any or all of her thoughts so you need a approach to dramatize her inner world and to make it possible for other characters to exist beyond her company. Finally, there is 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 the situation is acceptable on the page that couldn't survive on a screen. But exactly how certain moments are depicted will ultimately be within the director's hands.
Q: Do you think that you're capable of consider future projects while working on The Hunger Games, or are you immersed inside the world you occur to be currently creating so fully which it is just too difficult to consider new ideas?
A: I have a couple of seeds of ideas boating inside my head but--given very much of my focus is still on The Hunger Games--it will likely be awhile before one fully emerges and I can commence to develop it.
Q: The Hunger Games is once a year televised event in which one boy then one girl from each from the twelve districts is expected to participate inside a fight-to-the-death on live TV. What can you believe the appeal of reality television is--to both kids and adults?
A: Well, they're often set up as games and, like sporting events, there's an curiosity about seeing who wins. The contestants are generally unknown, which makes them relatable. Sometimes they have very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I've found very disturbing. There's also the possibility for desensitizing the audience, to ensure that once they see real tragedy playing out on, say, the news, it won't have the impact it should.
Q: In the event you were made to compete inside Hunger Games, what do you think that 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 can be to obtain hold of a rapier if there is 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 whenever they read The Hunger Games trilogy?
A: Questions about how precisely elements in the books might be relevant within 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 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 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 single more Hunger Game, but this time it can be for world control. While it can be a clever twist on the original plot, it indicates that there is less focus for the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life in to a less vibrant Katniss by displaying despair both at those she feels accountable for killing and possibly at her motives and choices. This is 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 from the rebels and also the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are well evidenced as part of his voice, which goes from rage to puzzlement to an unsure go back to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and many 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 different challenges of each and every in 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.
