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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out with 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 managed to get clear that no one 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 become one with the most discussed books from 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 as being a trilogy. Did it really end the way in which you planned it in the beginning?
A: Very much so. While I didn't know every detail, of course, the arc with 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 around the initial screenplay for the film to be according to The Hunger Games. What is the biggest difference between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. When you will find yourself adapting a novel into a two-hour movie you can not take everything with you. The story has to be condensed to fit the newest form. Then there is the question of methods best to take a magazine told within the first person and present tense and transform it right into a satisfying dramatic experience. In the novel, you don't ever leave Katniss for the second and so are privy to all of her thoughts so you may need a approach to dramatize her inner world and to produce it feasible for other characters to exist beyond her company. Finally, there's the challenge of the best way to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A large amount of the situation is acceptable over a page that couldn't survive on a screen. So how certain moments are depicted may ultimately be in the director's hands.
Q: Do you think you're in a position 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 too hard to consider new ideas?
A: We've a few seeds of ideas floating around within my head but--given very much of my focus remains on The Hunger Games--it is going to be awhile before one fully emerges and that i can begin to develop it.
Q: The Hunger Games is an annual televised event where one boy and something girl from each from the twelve districts is made to participate inside a fight-to-the-death on live TV. What can you believe the selling point of reality television is--to both kids and adults?
A: Well, they're often create 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 taken 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 hold the impact it should.
Q: In the wedding you were forced to compete in the Hunger Games, what can you believe 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 have hold of a rapier if there is one available. But the facts is I'd probably get about a four in Training.
Q: What does one hope readers can come away with after they read The Hunger Games trilogy?
A: Questions about how precisely elements with the books could be relevant inside their own lives. And, if they are disturbing, whatever 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 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 a single more Hunger Game, but now it really is for world control. While it can be a clever twist on the original plot, it indicates that there is certainly less focus around the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life right into a less vibrant Katniss by displaying despair both at those she feels responsible for killing and at her motives and choices. This is an older, wiser, sadder, and very 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 and also the victim of President Snow, who uses Peeta to make an attempt to control Katniss. Peeta's struggles are very 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 many confused—very real with distinct voices and agendas/concerns. She acts just like an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and unique challenges of every with the main characters. A successful completion of a 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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