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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it in the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who will they think should pay for your unrest? Katniss. And what's worse, President Snow has managed to get clear that no person else remains safe and secure 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 being one in the most mentioned books of 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 the strategies by which you planned it from your beginning?
A: Very much so. While I didn't know every detail, of course, the arc from the story from gladiator game, to revolution, to war, to the eventual outcome remained constant through the writing process.
Q: We understand you worked on the initial screenplay for a film to be depending on The Hunger Games. What is the biggest distinction between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. When you're adapting a novel in a two-hour movie you cannot take everything with you. The story has being condensed to match the brand new form. Then there's the question of how best to consider the sunday paper told inside first person and present tense and transform it in to a satisfying dramatic experience. In the novel, you won't ever leave Katniss for a second and so are privy to all or any of her thoughts so you may need a approach to dramatize her inner world and to make it easy for other characters to exist outside of her company. Finally, you have the challenge of how to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A lots of situations are acceptable on a page that may not be on a screen. So how certain moments are depicted may ultimately be in the director's hands.
Q: Have you been capable of consider future projects while working on The Hunger Games, or are you immersed inside world you might be currently creating so fully who's is too difficult to consider new ideas?
A: I have a couple of seeds of ideas boating in my head but--given that much of my focus continues to be on The Hunger Games--it is going to be awhile before one fully emerges and I can begin to develop it.
Q: The Hunger Games is once a year televised event through which one boy then one girl from each with the twelve districts is forced to participate in the fight-to-the-death on live TV. 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 fascination with seeing who wins. The contestants are generally unknown, which ensures they are relatable. Sometimes they've got 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 opportunity for desensitizing the audience, in order that when they see real tragedy playing out on, say, the news, it does not possess the impact it should.
Q: In case you were instructed to compete inside Hunger Games, what can you imagine your skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I used to be trained in sword-fighting, I guess my best hope will be to obtain hold of an rapier if there was one available. But the facts is I'd probably get with relation to a four in Training.
Q: What does one hope readers should come away with whenever they read The Hunger Games trilogy?
A: Questions about how elements in the books may be relevant in their own lives. And, if they're disturbing, the things they might do about them.
Q: What were some of one's 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 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 a single more Hunger Game, but on this occasion it is for world control. While it can be a clever twist on the original plot, it indicates that there exists less focus about 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 showing her despair both at those she feels responsible for killing and and also at her own motives and choices. This is an older, wiser, sadder, and intensely 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 in the rebels along with the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very well evidenced as part of his voice, which goes from rage to puzzlement for an unsure go back 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 as an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and unique challenges of each and every in 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.
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