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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 can they think should pay to the unrest? Katniss. And what's worse, President Snow has caused it to be clear that no-one else is protected 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 talked about books with the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said from your start that The Hunger Games story was intended as being a trilogy. Did it really end the means by which you planned it in the beginning?
A: Very much so. While I didn't know every detail, of course, the arc with the story from gladiator game, to revolution, to war, on the eventual outcome remained constant through the writing process.
Q: We understand you worked on the initial screenplay for a film being based on The Hunger Games. What may be the biggest distinction between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. If you are adapting a novel in to a two-hour movie you simply can't take everything with you. The story has to become condensed to fit the brand new form. Then there's the question of methods best to adopt a book told in the first person and present tense and transform it right into a satisfying dramatic experience. In the novel, you never leave Katniss to get a second and are privy to any or all of her thoughts so you'll need a approach to dramatize her inner world and to make it possible for other characters to exist outside of her company. Finally, there is the challenge of how you can present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A great deal of the situation is acceptable on a page that would not be on the screen. But wait, how certain moments are depicted will ultimately be inside director's hands.
Q: Are you currently capable of consider future projects while working on The Hunger Games, or are you immersed inside world you happen to be currently creating so fully which it is simply too hard to consider new ideas?
A: We have a number of seeds of ideas floating around 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 and that i can commence to develop it.
Q: The Hunger Games is a yearly televised event through which one boy the other girl from each with the twelve districts is instructed to participate in the fight-to-the-death on live TV. What do you think that 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 fascination with 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 taken to tears, or suffering physically--which I've found very disturbing. There's also the potential for desensitizing the audience, in order that whenever they see real tragedy playing out on, say, the news, it doesn't hold the impact it should.
Q: If you were instructed to compete within the Hunger Games, what can you believe your special skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I became trained in sword-fighting, I guess my best hope would be to acquire hold of the rapier if there were one available. But the facts is I'd probably get about a four in Training.
Q: What would you hope readers will come away with after they read The Hunger Games trilogy?
A: Questions about how precisely elements from the books might be relevant inside 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 with 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 more Hunger Game, but this time around it can be for world control. While it is really a clever twist about the original plot, it means that there is certainly less focus for the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life right into a less vibrant Katniss by displaying despair both at those she feels accountable for killing and and at her own motives and choices. This is surely an older, wiser, sadder, and extremely 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 the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are well evidenced in the voice, which goes from rage to puzzlement to an unsure go back to sweetness. McCormick also makes all the secondary characters—some malevolent, others benevolent, and a whole lot of 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 each 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.
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