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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it with 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 caused it to be 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 being one with the most talked about books in 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 being a trilogy. Did it really end the way you planned it from the beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc with the story from gladiator game, to revolution, to war, for the eventual outcome remained constant throughout the writing process.
Q: We understand you worked about the initial screenplay for any film being based on 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're adapting a novel into a two-hour movie you can't take everything with you. The story has being condensed to suit the newest form. Then there is the question of methods best to adopt a magazine told inside first person and provides tense and transform it in to a satisfying dramatic experience. In the novel, you won't ever leave Katniss for the second and are privy to all of her thoughts so you'll need a approach to dramatize her inner world and to make it feasible for other characters to exist beyond her company. Finally, there's the challenge of how you can present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A large amount of situations are acceptable over a page that wouldn't be over a screen. But exactly how certain moments are depicted could eventually be inside director's hands.
Q: Have you been capable 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 think about new ideas?
A: We have a couple of seeds of ideas boating in my head but--given very much of my focus is still on The Hunger Games--it will likely be awhile before one fully emerges i can start to develop it.
Q: The Hunger Games is an annual televised event through which one boy then one girl from each of the twelve districts is expected to participate in a very fight-to-the-death on live TV. What do you imagine the appeal 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 interest in seeing who wins. The contestants are often unknown, which ensures they are relatable. Sometimes they've got 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 once they see real tragedy playing out on, say, the news, it won't have the impact it should.
Q: If you were expected to compete inside Hunger Games, so what can you think that 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 could be to get hold of an rapier if there was one available. But the facts is I'd probably get with relation to its a four in Training.
Q: What do you hope readers should come away with after they read The Hunger Games trilogy?
A: Questions about how precisely elements from the books could possibly be relevant in their own lives. And, when they are disturbing, the things they might do about them.
Q: What were some of one's favorite novels when you're 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 can be for world control. While it is a clever twist for the original plot, this means that there is certainly less focus for the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life into a less vibrant Katniss by showing her despair both at those she feels in charge of killing and possibly at her own motives and choices. This is surely 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 from 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 makes all the secondary characters—some malevolent, others benevolent, and lots of confused—very real with distinct voices and agendas/concerns. She acts like an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and unique challenges of every 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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