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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 for your unrest? Katniss. And what's worse, President Snow has managed to get clear that no person else is safe 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 being one of the most brought up books of the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said from your start that The Hunger Games story was intended as being a trilogy. Did it genuinely end the strategies by which you planned it from your 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, on the eventual outcome remained constant throughout the writing process.
Q: We understand you worked on the initial screenplay for any film to get according to The Hunger Games. What will be the biggest distinction between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. If you are adapting a novel in to a two-hour movie you simply can't take everything with you. The story has to become condensed to fit the newest form. Then there's the question of methods best to take a magazine told inside the first person and offer tense and transform it in to a satisfying dramatic experience. In the novel, you don't ever leave Katniss for a second and therefore are privy to any any of her thoughts so you may need a approach to dramatize her inner world and to create it feasible for other characters to exist beyond her company. Finally, there's the challenge of the simplest way to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A lot of the situation is acceptable on the page that would not be on the screen. So how certain moments are depicted could eventually be within the director's hands.
Q: Have you been capable to consider future projects while working on The Hunger Games, or are you immersed in the world you occur to be currently creating so fully it is too difficult to consider new ideas?
A: I have a couple of seeds of ideas going swimming in my head but--given that much of my focus is still on The Hunger Games--it will likely be awhile before one fully emerges and I can commence to develop it.
Q: The Hunger Games is an annual televised event through which one boy the other girl from each of the twelve districts is forced to participate inside a fight-to-the-death on live TV. Exactly 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 fascination with seeing who wins. The contestants are generally unknown, which makes them relatable. Sometimes they've very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I find very disturbing. There's also the potential for desensitizing the audience, so that whenever they see real tragedy playing out on, say, the news, it doesn't possess the impact it should.
Q: Should you were made to compete inside the Hunger Games, exactly what do you think that your 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 acquire hold of the rapier if there is one available. But the reality is I'd probably get with regards to a four in Training.
Q: What do you hope readers will come away with once they read The Hunger Games trilogy?
A: Questions about how elements with the books may be relevant in their own lives. And, if they're disturbing, the things they might do about them.
Q: What were some of one's 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 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 is a clever twist around the original plot, it means that there exists less focus about the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life in to a less vibrant Katniss by displaying despair both at those she feels accountable for killing and possibly at her very 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 as well as the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are well evidenced in the voice, which goes from rage to puzzlement for an unsure return to sweetness. McCormick also helps to produce the secondary characters—some malevolent, others benevolent, and several 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 and every of 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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