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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other from the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay for that unrest? Katniss. And what's worse, President Snow has caused it to be clear that no person 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 get one with 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 from your start that The Hunger Games story was intended as a trilogy. Did it really end the way you planned it in the beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc of the story from gladiator game, to revolution, to war, for the eventual outcome remained constant throughout the writing process.
Q: We understand you worked on the initial screenplay for any film being depending on The Hunger Games. What is the biggest difference between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. When you discover yourself adapting a novel in to a two-hour movie you simply can't take everything with you. The story has to be condensed to suit the newest form. Then there's the question of methods best to look at a novel told within the first person and offer tense and transform it right into a satisfying dramatic experience. In the novel, you don't ever leave Katniss to get a second and so are privy to all or any of her thoughts so you may need a strategy to dramatize her inner world and to make it possible for other characters to exist beyond her company. Finally, there's 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 large amount of situations are acceptable on the page that may not be on the screen. But wait, how certain moments are depicted could eventually be inside the director's hands.
Q: Are you currently capable of consider future projects while working on The Hunger Games, or are you immersed within the world you might be currently creating so fully that it is simply too difficult to take into consideration new ideas?
A: I've a few seeds of ideas boating during my head but--given a good deal of of my focus is still on The Hunger Games--it will likely be awhile before one fully emerges and i also can start to develop it.
Q: The Hunger Games is a yearly televised event through which one boy and something girl from each of the twelve districts is made to participate in a fight-to-the-death on live TV. Exactly what do you believe the selling point of reality television is--to both kids and adults?
A: Well, they're often create as games and, like sporting events, there's an desire for seeing who wins. The contestants are often unknown, which makes them relatable. Sometimes they've very talented people performing. Then there's 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 once they see real tragedy playing out on, say, the news, this doesn't happen have the impact it should.
Q: In case you were expected to compete in the Hunger Games, what can you imagine your personal 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 can be to get hold of a rapier if there was one available. But the reality is I'd probably get in relation to a four in Training.
Q: What would you hope readers can come away with when they read The Hunger Games trilogy?
A: Questions about how precisely elements in the books could be relevant in their own lives. And, if they are disturbing, what they might do about them.
Q: What were some of the 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 in a more Hunger Game, but on this occasion it's for world control. While it can be a clever twist about the original plot, it means that there is certainly less focus around the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life in a less vibrant Katniss by showing her despair both at those she feels accountable for killing and and 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 and also the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very well evidenced in his voice, which goes from rage to puzzlement to an unsure go back to sweetness. McCormick also helps to create the secondary characters—some malevolent, others benevolent, and many confused—very real with distinct voices and agendas/concerns. She acts as an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and different challenges of each one with 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.
