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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out with the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay for your unrest? Katniss. And what's worse, President Snow has made it clear that no person else is safe 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 of the most talked about books of 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 as a trilogy. Did it actually end just how 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, for the eventual outcome remained constant through the writing process.
Q: We understand you worked on the initial screenplay for a film to get depending on The Hunger Games. What could be the biggest distinction between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. When you're 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 modern form. Then there is the question of how best to adopt a book told within the first person and provides tense and transform it right into a satisfying dramatic experience. In the novel, you never leave Katniss to get a second and therefore are privy to all of her thoughts so you need a way to dramatize her inner world and to make it possible for other characters to exist outside her company. Finally, there's the challenge of how to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A great deal of things are acceptable on the page that would not be on the screen. But how certain moments are depicted will ultimately be inside director's hands.
Q: Have you been capable of consider future projects while working on The Hunger Games, or are you immersed inside the world you're currently creating so fully which it is simply too challenging to take into consideration new ideas?
A: I have several seeds of ideas floating around during my head but--given much of my focus continues to be on The Hunger Games--it will probably be awhile before one fully emerges and that i can commence to develop it.
Q: The Hunger Games is a yearly televised event by which one boy and one girl from each from the twelve districts is forced to participate in a very fight-to-the-death on live TV. Exactly what do you think the selling point 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 interest in seeing who wins. The contestants are often unknown, which means they are relatable. Sometimes they've very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I have found very disturbing. There's also the potential for desensitizing the audience, in order that after they see real tragedy playing out on, say, the news, it doesn't have the impact it should.
Q: In case you were expected to compete within the Hunger Games, what do you think your personal 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 would be to acquire 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 will come away with once they read The Hunger Games trilogy?
A: Questions about how exactly elements of the books might be relevant of their own lives. And, if they're disturbing, the things they might do about them.
Q: What were some of your respective favorite novels when you had been 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 of 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 now it can be for world control. While it is really a clever twist about the original plot, it indicates that there exists less focus on the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life into a less vibrant Katniss by displaying despair both at those she feels responsible for killing and at her 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 with the rebels along with the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are very well evidenced in his voice, which goes from rage to puzzlement for an unsure come 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 such as an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and different challenges of every in 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.
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