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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out of the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who can they think should pay for your unrest? Katniss. And what's worse, President Snow has caused it to be clear that nobody 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 get one of 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 in the start that The Hunger Games story was intended like a trilogy. Did it actually 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 with the story from gladiator game, to revolution, to war, for the eventual outcome remained constant through the entire writing process.
Q: We understand you worked on the initial screenplay for the film being according to The Hunger Games. What will be the biggest difference between writing a novel and writing a screenplay?
A: There were several significant differences. Time, for starters. When you're adapting a novel into a two-hour movie you simply can't take everything with you. The story has to get condensed to fit the modern form. Then there is the question of how best to consider a magazine told within the first person and provides tense and transform it into a satisfying dramatic experience. In the novel, you never leave Katniss to get a 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 make it feasible for other characters to exist outside her company. Finally, there's the challenge of the easiest way to present the violence while still maintaining a PG-13 rating in order that your core audience can view it. A lot of situations are acceptable on the page that wouldn't be on a screen. So how certain moments are depicted will ultimately be inside director's hands.
Q: Are you currently capable to consider future projects while working on The Hunger Games, or are you immersed inside the world you might be currently creating so fully that it is just too hard to take into consideration new ideas?
A: We have several seeds of ideas going swimming in my head but--given much of my focus continues to be on The Hunger Games--it is going to be awhile before one fully emerges and i also can start to develop it.
Q: The Hunger Games is an annual televised event through which one boy and one girl from each of the twelve districts is made to participate inside a fight-to-the-death on live TV. What can you think the appeal of reality television is--to both kids and adults?
A: Well, they're often create as games and, like sporting events, there's an interest in seeing who wins. The contestants are usually unknown, which means they are relatable. Sometimes they have very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I have found very disturbing. There's also the opportunity for desensitizing the audience, to ensure whenever they see real tragedy playing out on, say, the news, it doesn't have the impact it should.
Q: If you were expected to compete within the Hunger Games, what do you believe your skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I accustomed to be trained in sword-fighting, I guess my best hope will be to have hold of your rapier if there were one available. But the facts is I'd probably get in relation to a four in Training.
Q: What does one hope readers can come away with whenever they read The Hunger Games trilogy?
A: Questions about how precisely elements in the books might be relevant of their own lives. And, when they are disturbing, the things 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 one more Hunger Game, but on this occasion it is for world control. While it is often a clever twist on the original plot, this means 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 in a less vibrant Katniss by showing her despair both at those she feels in charge of killing and possibly at her very own motives and choices. This is definitely an older, wiser, sadder, and very 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 the victim of President Snow, who uses Peeta to make an endeavor to control Katniss. Peeta's struggles are well evidenced in the voice, which goes from rage to puzzlement to an unsure return to sweetness. McCormick also makes all the secondary characters—some malevolent, others benevolent, and several confused—very real with distinct voices and agendas/concerns. She acts just like an outside chronicler in giving listeners just “the facts” but also respects the individuality and unique challenges of each from 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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