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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out from 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 nobody else remains safe and secure 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 being one in 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 really end just how you planned it through the beginning?
A: Very much so. While Some know every detail, of course, the arc from the story from gladiator game, to revolution, to war, for the eventual outcome remained constant through the writing process.
Q: We understand you worked about the initial screenplay for the film being according to The Hunger Games. What could be the biggest difference between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. When you find yourself adapting a novel in to a two-hour movie you can't take everything with you. The story has being condensed to fit the brand new form. Then you have the question of how best to adopt a magazine told inside 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 so are privy to all or any of her thoughts so you need a method to dramatize her inner world and to generate it possible for other characters to exist beyond her company. Finally, there's the challenge of how to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A large amount of things are acceptable on the page that couldn't survive over a screen. But how certain moments are depicted may ultimately be within the director's hands.
Q: Are you currently capable to consider future projects while working on The Hunger Games, or are you immersed in the world you might be currently creating so fully which it is just too difficult to consider new ideas?
A: I've a few seeds of ideas going swimming in my head but--given very much of my focus continues to be on The Hunger Games--it will probably be awhile before one fully emerges i can commence to develop it.
Q: The Hunger Games is an annual televised event where one boy and something girl from each of the twelve districts is instructed to participate in a very 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 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'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 opportunity for desensitizing the audience, to ensure that after they see real tragedy playing out on, say, the news, it does not contain the impact it should.
Q: Should you were instructed to compete within the Hunger Games, what can you believe 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 could be to acquire hold of a rapier if there was clearly one available. But reality is I'd probably get in relation to a four in Training.
Q: What does one hope readers will come away with whenever they read The Hunger Games trilogy?
A: Questions about how precisely elements with the books could possibly be relevant in their own lives. And, when they are disturbing, what you might do about them.
Q: What were some of the 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 about the original plot, it means that there's less focus around the individual characters and 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 at her motives and choices. This is 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 of the rebels and also the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very evidenced as part of his voice, which goes from rage to puzzlement to an unsure go back to sweetness. McCormick also helps to produce the secondary characters—some malevolent, others benevolent, and many 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 every from the main characters. A successful completion of an 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.
