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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out of 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 made it clear that no person else is safe 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 being one of the most discussed 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 really end the best way you planned it in the beginning?
A: Very much so. While I did not know every detail, of course, the arc in the story from gladiator game, to revolution, to war, for the eventual outcome remained constant throughout the writing process.
Q: We understand you worked for the initial screenplay for any film to get 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. If you are adapting a novel into a two-hour movie you can not take everything with you. The story has to get condensed to match the modern form. Then there is the question of how best to look at the sunday paper told in the first person and offer tense and transform it in to a satisfying dramatic experience. In the novel, you don't ever leave Katniss for a second and are privy to all of her thoughts so you will need a strategy to dramatize her inner world and to produce it easy 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 so that your core audience can view it. A lots of things are acceptable on the page that couldn't survive over a screen. So how certain moments are depicted will ultimately be in the director's hands.
Q: Are you capable of consider future projects while working on The Hunger Games, or are you immersed inside the world you might be currently creating so fully it is just too difficult to think about new ideas?
A: I have 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 begin to develop it.
Q: The Hunger Games is a yearly televised event in which one boy and one girl from each of the twelve districts is forced to participate inside a fight-to-the-death on live TV. 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 fascination with seeing who wins. The contestants are usually unknown, which means they are relatable. Sometimes they have very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I've found very disturbing. There's also the potential for desensitizing the audience, so that after they see real tragedy playing out on, say, the news, this doesn't happen have the impact it should.
Q: Should you were expected to compete inside the Hunger Games, what can you imagine your special skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I was trained in sword-fighting, I guess my best hope can be to have hold of an rapier if there were one available. But the facts is I'd probably get in regards to a four in Training.
Q: What does one hope readers should come away with once they read The Hunger Games trilogy?
A: Questions about how elements from the books might be relevant inside their own lives. And, if they're disturbing, whatever they might do about them.
Q: What were some of your 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 in 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 this time around it can be for world control. While it is a clever twist on the original plot, it means that there's less focus on the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life in to a less vibrant Katniss by displaying 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 very 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 with the rebels and also the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are very evidenced as part of his voice, which goes from rage to puzzlement to an unsure come back to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and lots of confused—very real with distinct voices and agendas/concerns. She acts like an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and different challenges of each and every of 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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