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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 can they think should pay for that unrest? Katniss. And what's worse, President Snow has made it 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 be one from 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 in the start that The Hunger Games story was intended like a trilogy. Did it genuinely end just how you planned it in 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, on the eventual outcome remained constant throughout the writing process.
Q: We understand you worked around the initial screenplay for a film to get based on The Hunger Games. What may be the biggest distinction between writing a novel and writing a screenplay?
A: There were several significant differences. Time, for starters. When you're adapting a novel in a two-hour movie you simply can't take everything with you. The story has to get condensed to match the modern form. Then you have the question of methods best to adopt the sunday paper told inside first person and provides tense and transform it in to a satisfying dramatic experience. In the novel, you don't ever leave Katniss for any second and are privy to any or all of her thoughts so you need a approach to dramatize her inner world and to make it easy for other characters to exist outside her company. Finally, you have the challenge of how to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A lot of situations are acceptable on a page that wouldn't be on a screen. But how certain moments are depicted could eventually be inside director's hands.
Q: Are you currently able to consider future projects while working on The Hunger Games, or are you immersed in the world you eventually be currently creating so fully it is simply too hard to consider new ideas?
A: I've a few seeds of ideas going swimming during 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 i can commence to develop it.
Q: The Hunger Games is a yearly televised event through which one boy the other girl from each with the twelve districts is forced to participate in a very fight-to-the-death on live TV. What do you think the appeal of reality television is--to both kids and adults?
A: Well, they're often create 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've very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I have found very disturbing. There's also the opportunity for desensitizing the audience, to ensure when they see real tragedy playing out on, say, the news, it does not contain the impact it should.
Q: In the big event you were forced 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 became trained in sword-fighting, I guess my best hope would be to have hold of a rapier if there is one available. But the truth is I'd probably get with regards to a four in Training.
Q: What does one hope readers will come away with after they read The Hunger Games trilogy?
A: Questions about how precisely elements in the books could be relevant within their own lives. And, if they are disturbing, what they might do about them.
Q: What were some of your 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 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 a more Hunger Game, but this time it really is for world control. While it can be a clever twist around the original plot, it indicates that there is certainly less focus about the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life into a less vibrant Katniss by displaying despair both at those she feels responsible for killing and possibly 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 of the rebels and the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are very evidenced in the voice, which goes from rage to puzzlement to an unsure come back to sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and a lot 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 unique challenges of each 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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