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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 can they think should pay for that unrest? Katniss. And what's worse, President Snow has managed to get clear that nobody 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 brought up books with the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said through the start that The Hunger Games story was intended as being a trilogy. Did it actually end just how you planned it from your beginning?
A: Very much so. While I did not know every detail, of course, the arc with the story from gladiator game, to revolution, to war, towards the eventual outcome remained constant through the entire writing process.
Q: We understand you worked on the initial screenplay for any film to get according to The Hunger Games. What may be the biggest distinction between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. When you will find yourself adapting a novel in to a two-hour movie you simply can't take everything with you. The story has being condensed to fit the newest form. Then there is the question of how best to consider a book told inside the first person and offer tense and transform it in to a satisfying dramatic experience. In the novel, you don't ever leave Katniss to get a second and therefore are privy to any or all of her thoughts so you will need a approach to dramatize her inner world and to create it easy for other characters to exist outside her company. Finally, there's the challenge of the way to present the violence while still maintaining a PG-13 rating in order that your core audience can view it. A lot of situations are acceptable over a page that would not be on a screen. So how certain moments are depicted will ultimately be inside the director's hands.
Q: Do you believe you're capable of consider future projects while working on The Hunger Games, or are you immersed inside the world you're currently creating so fully that it is too hard to think about new ideas?
A: We have a couple of seeds of ideas going swimming within my head but--given that much of my focus remains on The Hunger Games--it will probably be awhile before one fully emerges and that i can begin to develop it.
Q: The Hunger Games is a yearly televised event through which one boy then one girl from each from the twelve districts is forced to participate in a fight-to-the-death on live TV. Exactly what do you imagine the appeal 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 generally unknown, which makes them relatable. Sometimes they have very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I find very disturbing. There's also the potential for desensitizing the audience, to ensure when they see real tragedy playing out on, say, the news, it does not contain the impact it should.
Q: Should you were instructed to compete in the Hunger Games, what do you believe your personal 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 will be to obtain hold of the rapier if there is one available. But the truth is I'd probably get about a four in Training.
Q: What would you hope readers will come away with when they read The Hunger Games trilogy?
A: Questions about how precisely elements of the books may be relevant in their own lives. And, if they're disturbing, what they might do about them.
Q: What were some of one's 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 from 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 one more Hunger Game, but this time it can be for world control. While it can be a clever twist on the original plot, it means that there exists 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 into a less vibrant Katniss by displaying despair both at those she feels accountable for killing and at her own motives and choices. This is definitely 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 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 the voice, which goes from rage to puzzlement to an unsure resume sweetness. McCormick also makes 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 in addition respects the individuality and different challenges of each one of the main characters. A successful completion of your 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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