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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 do they think should pay for the unrest? Katniss. And what's worse, President Snow has made it clear that nobody else is safe 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 of the most discussed books in 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 a trilogy. Did it really end the best way you planned it from your beginning?
A: Very much so. While I didn't know every detail, of course, the arc of the story from gladiator game, to revolution, to war, on the eventual outcome remained constant throughout the writing process.
Q: We understand you worked about the initial screenplay for a film to become according to The Hunger Games. What could be the biggest distinction between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. If you are adapting a novel right into a two-hour movie you can't take everything with you. The story has being condensed to suit the modern form. Then you have the question of methods best to look at a book told inside the first person and provides tense and transform it in to a satisfying dramatic experience. In the novel, you don't ever leave Katniss for the second and are privy to any any of her thoughts so you'll need a way to dramatize her inner world and to make it easy for other characters to exist outside her company. Finally, you have the challenge of the easiest way to 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 may not be on the screen. But exactly how certain moments are depicted will ultimately be inside director's hands.
Q: Have you been capable of consider future projects while working on The Hunger Games, or are you immersed within the world you might be currently creating so fully who's is too difficult to consider new ideas?
A: We've a few seeds of ideas going swimming during my head but--given much of my focus is still on The Hunger Games--it will likely be awhile before one fully emerges and i also can begin to develop it.
Q: The Hunger Games is once a year televised event in which one boy then one girl from each from the twelve districts is expected to participate in a fight-to-the-death on live TV. What can you think that the appeal of reality television is--to both kids and adults?
A: Well, they're often setup as games and, like sporting events, there's an desire for seeing who wins. The contestants are often unknown, which means they are relatable. Sometimes they have 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 possibility for desensitizing the audience, to ensure that once they see real tragedy playing out on, say, the news, this doesn't happen hold the impact it should.
Q: In case you were forced to compete inside the Hunger Games, what do you believe 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 would be to have hold of your rapier if there was clearly one available. But reality is I'd probably get of 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 exactly elements in the books may be relevant inside their own lives. And, when they are disturbing, the things they 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 one more Hunger Game, but this time it's for world control. While it is often a clever twist for the original plot, it means that there is less focus on the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life in a less vibrant Katniss by displaying despair both at those she feels accountable for killing and at her motives and choices. This is an older, wiser, sadder, and intensely 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 well evidenced in his voice, which goes from rage to puzzlement to an unsure come back 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 such as an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and unique challenges of 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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