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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 can they think should pay to the unrest? Katniss. And what's worse, President Snow has made it clear that no one else is safe either. Not Katniss's family, not her friends, not individuals of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to be one of the most mentioned 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 as being a trilogy. Did it really end just how you planned it from the beginning?
A: Very much so. While I did not know every detail, of course, the arc of the story from gladiator game, to revolution, to war, to the eventual outcome remained constant throughout the writing process.
Q: We understand you worked on the initial screenplay for a film to get according to The Hunger Games. What is the biggest difference between writing a novel and writing a screenplay?
A: There were several significant differences. Time, for starters. If you are adapting a novel in a two-hour movie you can't take everything with you. The story has to become condensed to suit the brand new form. Then there is the question of methods best to adopt a book told inside the first person and offer tense and transform it in a satisfying dramatic experience. In the novel, you never leave Katniss for any second and are privy to all of her thoughts so you will need a method to dramatize her inner world and to produce it easy for other characters to exist outside of her company. Finally, you have 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 lots of situations are acceptable over a page that may not be on a screen. But how certain moments are depicted could eventually be inside the director's hands.
Q: Have you been able to consider future projects while working on The Hunger Games, or are you immersed in the world you are currently creating so fully that it is too challenging to consider new ideas?
A: We have a couple of seeds of ideas boating inside my head but--given a great deal of of my focus is still on The Hunger Games--it will probably be awhile before one fully emerges i can begin to develop it.
Q: The Hunger Games is a yearly televised event through which one boy the other girl from each in the twelve districts is forced to participate in a very fight-to-the-death on live TV. What can you think that the appeal of reality television is--to both kids and adults?
A: Well, they're often setup as games and, like sporting events, there's an desire for seeing who wins. The contestants are often unknown, which ensures they are relatable. Sometimes they've very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I have found very disturbing. There's also the opportunity for desensitizing the audience, to ensure when they see real tragedy playing out on, say, the news, it doesn't contain the impact it should.
Q: In the big event you were instructed to compete in the Hunger Games, exactly what do you believe your special 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 the rapier if there were 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 whenever they read The Hunger Games trilogy?
A: Questions about how exactly elements of the books could possibly be relevant of their own lives. And, if 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 in 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 can be for world control. While it is really a clever twist on the original plot, it indicates that there is less focus about the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life in a less vibrant Katniss by displaying despair both at those she feels responsible for killing and possibly at her very own motives and choices. This is surely 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 with the rebels along with the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are well evidenced as part of his voice, which goes from rage to puzzlement for an unsure return to sweetness. McCormick also makes all the secondary characters—some malevolent, others benevolent, and many 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 different challenges of each one from 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.
