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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made 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 your unrest? Katniss. And what's worse, President Snow has made it clear that no-one 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 get one of the most talked about 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 from the beginning?
A: Very much so. While Some 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 around the initial screenplay to get a film to be based on The Hunger Games. What may be the biggest difference between writing a novel and writing a screenplay?
A: There was 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 to become condensed to fit the new form. Then there's the question of how best to consider the sunday paper told inside first person and offer tense and transform it right into a satisfying dramatic experience. In the novel, you don't ever leave Katniss for any second and so are privy to any or all of her thoughts so you may need a method to dramatize her inner world and to make it feasible for other characters to exist beyond her company. Finally, you have the challenge of how to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A large amount of things are acceptable on a page that may not be on a screen. But exactly how certain moments are depicted could eventually be inside the director's hands.
Q: Are you currently 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 who's is too difficult to consider new ideas?
A: We've a few seeds of ideas floating around within my head but--given much of my focus continues to be 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 by which one boy the other girl from each of the twelve districts is forced to participate in the fight-to-the-death on live TV. Exactly what do you imagine 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 have very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I have found very disturbing. There's also the potential for desensitizing the audience, to ensure that whenever they see real tragedy playing out on, say, the news, this doesn't happen have the impact it should.
Q: In the big event you were forced to compete within the Hunger Games, exactly what do you think your personal 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 can be to acquire hold of an rapier if there is one available. But the reality is I'd probably get in relation to a four in Training.
Q: What does one hope readers should come away with whenever they read The Hunger Games trilogy?
A: Questions about how precisely elements in the books could be relevant inside their own lives. And, if they're disturbing, whatever 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 a single more Hunger Game, but now it really is for world control. While it is a clever twist on the original plot, it means that there exists less focus on the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life in to a less vibrant Katniss by displaying despair both at those she feels responsible for killing and and also 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 in the rebels as well as the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are very well evidenced in his voice, which goes from rage to puzzlement to an unsure return 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 additionally respects the individuality and different challenges of every with 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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