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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 can they think should pay for that 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 to become one of the most mentioned 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 really end the way you planned it from your beginning?
A: Very much so. While Some 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 writing process.
Q: We understand you worked on the initial screenplay for a film to become based on The Hunger Games. What could be the biggest difference between writing a novel and writing a screenplay?
A: There were several significant differences. Time, for starters. When you are adapting a novel in a two-hour movie you simply can't take everything with you. The story has to get condensed to fit the brand new form. Then you have the question of methods best to adopt a magazine told within 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 any second and therefore are privy to all or any of her thoughts so you may need a method to dramatize her inner world and to create it feasible 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 in order that your core audience can view it. A large amount of things are acceptable on the page that may not be on a screen. But exactly how certain moments are depicted could eventually be in the director's hands.
Q: Are you in a position to consider future projects while working on The Hunger Games, or are you immersed within the world you might be currently creating so fully who's is simply too hard to take into consideration new ideas?
A: We have a number of seeds of ideas floating around during my head but--given a ton of of my focus remains on The Hunger Games--it will likely be awhile before one fully emerges i can commence to develop it.
Q: The Hunger Games is an annual televised event by which one boy and something girl from each in the twelve districts is made to participate inside a fight-to-the-death on live TV. Exactly what do you believe the benefit 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 usually unknown, which makes them relatable. Sometimes they've very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I find very disturbing. There's also the opportunity for desensitizing the audience, in order that whenever they see real tragedy playing out on, say, the news, it does not possess the impact it should.
Q: In case you were forced to compete within the Hunger Games, so what can you think that 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 will be to obtain hold of your rapier if there were one available. But the truth is I'd probably get with relation to 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 could possibly be relevant within their own lives. And, when they are disturbing, what they might do about them.
Q: What were some of your respective 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 one more Hunger Game, but now it really is for world control. While it is a clever twist for the original plot, it means that there's less focus for the individual characters and 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 accountable for killing and at her own motives and choices. This is surely an older, wiser, sadder, and incredibly 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 and control Katniss. Peeta's struggles are very well evidenced in his voice, which goes from rage to puzzlement for an unsure return to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and a whole lot of confused—very real with distinct voices and agendas/concerns. She acts like 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 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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