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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 can they think should pay for your unrest? Katniss. And what's worse, President Snow has managed to get clear that no one else remains safe and secure 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 become one of the most discussed 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 like a trilogy. Did it really end the way in which you planned it from the beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc in the story from gladiator game, to revolution, to war, towards the eventual outcome remained constant throughout the writing process.
Q: We understand you worked on the initial screenplay for the film to be depending on The Hunger Games. What will be the biggest distinction between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. When you are adapting a novel in a two-hour movie you cannot take everything with you. The story has to get condensed to match the brand new form. Then you have the question of how best to look at the sunday paper told inside the first person and offer tense and transform it in to a satisfying dramatic experience. In the novel, you won't ever leave Katniss for the second and so are privy to all of her thoughts so you may need a way to dramatize her inner world and to make it easy for other characters to exist beyond her company. Finally, there is the challenge of how you can present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A great deal of things are acceptable on a page that may not be over a screen. So how certain moments are depicted will ultimately be within the director's hands.
Q: Have you been capable of consider future projects while working on The Hunger Games, or are you immersed within the world you eventually be currently creating so fully which it is too difficult to consider new ideas?
A: I've several seeds of ideas floating around during my head but--given much of my focus remains on The Hunger Games--it will likely be awhile before one fully emerges and I can begin to develop it.
Q: The Hunger Games is an annual televised event through which one boy and something girl from each with the twelve districts is expected to participate in the fight-to-the-death on live TV. What do you think the benefit 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 curiosity about seeing who wins. The contestants are generally unknown, which makes them relatable. Sometimes they've got 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 possibility for desensitizing the audience, so that after they see real tragedy playing out on, say, the news, it does not hold the impact it should.
Q: Should you were expected to compete inside the Hunger Games, exactly what do you think your personal skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I had been trained in sword-fighting, I guess my best hope can be to acquire hold of your rapier if there was one available. But reality is I'd probably get of 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 precisely elements of the books could be relevant of their own lives. And, when they are disturbing, what they might do about them.
Q: What were some of your respective favorite novels when you were 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 one more Hunger Game, but on this occasion it is for world control. While it is a clever twist about the original plot, this 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 at her 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 with the rebels along with the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are well evidenced in his voice, which goes from rage to puzzlement to a unsure go back to sweetness. McCormick also helps to make the secondary characters—some malevolent, others benevolent, and a great deal of 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 different challenges of each and every in 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.
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