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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other of 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-one else remains safe and secure 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 to get one of the most brought up books of 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 genuinely end the best way you planned it from the beginning?
A: Very much so. While I did not know every detail, of course, the arc from the story from gladiator game, to revolution, to war, to the eventual outcome remained constant throughout the writing process.
Q: We understand you worked about the initial screenplay for any film being 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 are adapting a novel into a two-hour movie you can't take everything with you. The story has to become condensed to match the newest form. Then you have the question of methods best to look at a novel told within the first person and present tense and transform it in a satisfying dramatic experience. In the novel, you don't ever leave Katniss for the second and are privy to any or all of her thoughts so you need a method to dramatize her inner world and to produce it possible for other characters to exist beyond her company. Finally, you have the challenge of the way to present the violence while still maintaining a PG-13 rating to ensure 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 in the director's hands.
Q: Have you been capable to consider future projects while working on The Hunger Games, or are you immersed inside the world you are currently creating so fully it is simply too difficult to take into consideration new ideas?
A: We've several seeds of ideas going swimming in my head but--given very much of my focus continues to be on The Hunger Games--it will likely be awhile before one fully emerges and i also can begin to develop it.
Q: The Hunger Games is once a year televised event by which one boy then one girl from each in the twelve districts is made to participate in a fight-to-the-death on live TV. Exactly what do you think the benefit of reality television is--to both kids and adults?
A: Well, they're often setup as games and, like sporting events, there's an curiosity about seeing who wins. The contestants are often unknown, which makes them relatable. Sometimes they have very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I find very disturbing. There's also the opportunity for desensitizing the audience, to ensure that when they see real tragedy playing out on, say, the news, it doesn't possess the impact it should.
Q: Should you were instructed to compete inside the Hunger Games, exactly what do you think your special skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I utilized to be trained in sword-fighting, I guess my best hope will be to get hold of a rapier if there was clearly one available. But the facts is I'd probably get with regards to a four in Training.
Q: What do you hope readers will come away with once they read The Hunger Games trilogy?
A: Questions about how exactly elements from the books could possibly be relevant of their own lives. And, when they are disturbing, what you might do about them.
Q: What were some of one's favorite novels when you are 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 more Hunger Game, but now it is for world control. While it can be a clever twist on the original plot, this means that there exists less focus around 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 showing her despair both at those she feels in charge of killing and and at her own motives and choices. This is surely an older, wiser, sadder, and incredibly 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 as well as 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 resume sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and lots of confused—very real with distinct voices and agendas/concerns. She acts just like an outside chronicler in giving listeners just “the facts” but also respects the individuality and unique challenges of each one with the main characters. A successful completion of a 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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