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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out in the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who will they think should pay for the unrest? Katniss. And what's worse, President Snow has made it clear that no person 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 from the most talked about 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 way you planned it from the beginning?
A: Very much so. While I did not know every detail, of course, the arc of 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 for the initial screenplay for a film to become according to The Hunger Games. What is the biggest distinction between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. When you discover yourself adapting a novel in to a two-hour movie you simply can't take everything with you. The story has to get condensed to fit the new form. Then there's the question of how best to take a book told inside the first person and offer tense and transform it in a satisfying dramatic experience. In the novel, you never leave Katniss for any second and so are privy to all or any of her thoughts so you'll need a way to dramatize her inner world and to make it feasible for other characters to exist outside her company. Finally, there's the challenge of the simplest way to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A lot of things are acceptable on a page that couldn't survive on a screen. But wait, how certain moments are depicted will ultimately 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 in the world you're currently creating so fully it is simply too challenging to take into consideration new ideas?
A: I have a number of seeds of ideas boating within my head but--given very much of my focus continues to be on The Hunger Games--it is going to be awhile before one fully emerges and that i can start to develop it.
Q: The Hunger Games is once a year televised event in which one boy the other girl from each in the twelve districts is forced to participate in the 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 set up as games and, like sporting events, there's an desire for seeing who wins. The contestants are generally unknown, which ensures they are relatable. Sometimes they've got very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I've found very disturbing. There's also the opportunity for desensitizing the audience, to ensure that once they see real tragedy playing out on, say, the news, it does not have the impact it should.
Q: If you were instructed to compete within the Hunger Games, exactly what do you think that your special 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 will be to have hold of your rapier if there were one available. But the truth is I'd probably get in regards to 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 elements with the books might be relevant inside their own lives. And, if they're disturbing, what you might do about them.
Q: What were some of your respective favorite novels when you had been 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 in a single more Hunger Game, but this time around it can be for world control. While it is often a clever twist around the original plot, it means that there is less focus for the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life right into a less vibrant Katniss by displaying despair both at those she feels accountable for killing and and at her own motives and choices. This is 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 from the rebels along with the victim of President Snow, who uses Peeta to make an attempt to control Katniss. Peeta's struggles are very well evidenced as part of his voice, which goes from rage to puzzlement to an unsure go back to sweetness. McCormick also makes all the secondary characters—some malevolent, others benevolent, and several confused—very real with distinct voices and agendas/concerns. She acts such as an outside chronicler in giving listeners just “the facts” but also respects the individuality and unique challenges of each one from 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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