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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made 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 to the unrest? Katniss. And what's worse, President Snow has managed to get clear that no person 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 mentioned books from 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 as being a trilogy. Did it actually end the best way you planned it through the beginning?
A: Very much so. While Some know every detail, of course, the arc of the story from gladiator game, to revolution, to war, to the eventual outcome remained constant throughout the writing process.
Q: We understand you worked for the initial screenplay to get a film to get according to The Hunger Games. What will be the biggest difference between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. When you are adapting a novel right into a two-hour movie you simply can't take everything with you. The story has being condensed to match the new form. Then there is the question of how best to consider the sunday paper told within the first person and offer tense and transform it right into a satisfying dramatic experience. In the novel, you never leave Katniss for any second and are privy to any or all of her thoughts so you need a way to dramatize her inner world and to make it possible for other characters to exist beyond her company. Finally, there's 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 great deal of things are acceptable over a page that couldn't survive over a screen. But exactly how certain moments are depicted could eventually be within the director's hands.
Q: Do you think you're capable to consider future projects while working on The Hunger Games, or are you immersed inside the world you might be currently creating so fully that it is just too difficult to consider new ideas?
A: We've several seeds of ideas floating around in my head but--given very much of my focus remains on The Hunger Games--it will probably be awhile before one fully emerges and i also can begin to develop it.
Q: The Hunger Games is once a year televised event by which one boy and something girl from each from the twelve districts is made to participate in a fight-to-the-death on live TV. What do you believe 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 means 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 find very disturbing. There's also the potential for desensitizing the audience, to ensure whenever they see real tragedy playing out on, say, the news, this doesn't happen have the impact it should.
Q: In case you were expected to compete inside the Hunger Games, 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 an rapier if there was one available. But the reality is I'd probably get about a four in Training.
Q: What can you hope readers will come away with after they read The Hunger Games trilogy?
A: Questions about how elements from the books might be relevant inside their own lives. And, if they are disturbing, the things they might do about them.
Q: What were some of one's 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 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 now it really is for world control. While it is often a clever twist around the original plot, it indicates that there is certainly less focus about the individual characters plus 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 showing her despair both at those she feels responsible for killing and and at her motives and choices. This is surely 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 in the rebels and also the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are very evidenced in his voice, which goes from rage to puzzlement to a unsure return to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and many confused—very real with distinct voices and agendas/concerns. She acts as an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and unique challenges of each one with 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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