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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out 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 nobody else is protected 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 be 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 from the start that The Hunger Games story was intended like a trilogy. Did it genuinely end just how you planned it through the beginning?
A: Very much so. While Some know every detail, of course, the arc with the story from gladiator game, to revolution, to war, on the eventual outcome remained constant throughout the writing process.
Q: We understand you worked around the initial screenplay for a film to get according to The Hunger Games. What could be the biggest difference 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 a two-hour movie you can't take everything with you. The story has to be condensed to fit the modern form. Then there's the question of how best to look at a novel told in the first person and provides tense and transform it in a satisfying dramatic experience. In the novel, you never leave Katniss for the second and therefore are privy to any any of her thoughts so you need a strategy to dramatize her inner world and to produce it possible for other characters to exist outside of 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 lots of the situation is acceptable on a page that wouldn't be on the screen. So how certain moments are depicted could eventually be within the director's hands.
Q: Are you capable to consider future projects while working on The Hunger Games, or are you immersed within the world you are currently creating so fully it is just too difficult to consider new ideas?
A: We've several seeds of ideas floating around during my head but--given a great deal of of my focus remains on The Hunger Games--it is going to be awhile before one fully emerges and i also can commence to develop it.
Q: The Hunger Games is an annual televised event by which one boy the other girl from each with the twelve districts is made to participate inside a fight-to-the-death on live TV. Exactly what do you think that the selling point of reality television is--to both kids and adults?
A: Well, they're often setup 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've very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I have found very disturbing. There's also the potential for desensitizing the audience, in order that after they see real tragedy playing out on, say, the news, it won't possess the impact it should.
Q: Should you were expected to compete in the Hunger Games, what can you think that your special 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 acquire hold of a rapier if there was clearly one available. But the reality is I'd probably get of a four in Training.
Q: What does one hope readers should come away with when they read The Hunger Games trilogy?
A: Questions about how elements in the books might be relevant inside their own lives. And, if they are 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 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 on this occasion it can be for world control. While it can be a clever twist for the original plot, it indicates that there is less focus about the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life right into a less vibrant Katniss by showing her despair both at those she feels accountable for killing and and also at her motives and choices. This is 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 and the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very evidenced as part of his voice, which goes from rage to puzzlement for an unsure resume sweetness. McCormick also helps to make the secondary characters—some malevolent, others benevolent, and several confused—very real with distinct voices and agendas/concerns. She acts just like an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and different challenges of each and every in 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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