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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it in 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 made it clear that no-one else is protected either. Not Katniss's family, not her friends, not individuals of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to become one in 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 in the start that The Hunger Games story was intended like a trilogy. Did it genuinely end the way you planned it from the beginning?
A: Very much so. While Some know every detail, of course, the arc in the story from gladiator game, to revolution, to war, on the eventual outcome remained constant through the writing process.
Q: We understand you worked on the initial screenplay for the film to become depending on The Hunger Games. What is the biggest difference between writing a novel and writing a screenplay?
A: There were several significant differences. Time, for starters. When you discover yourself adapting a novel in to a two-hour movie you can't take everything with you. The story has being condensed to suit the modern form. Then there's the question of how best to adopt a novel told in the first person and present 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 any any of her thoughts so you will need a approach to dramatize her inner world and to make it feasible for other characters to exist outside of her company. Finally, there is the challenge of how to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A lots of situations are acceptable on a page that wouldn't be on a screen. But how certain moments are depicted will ultimately be within the director's hands.
Q: Do you believe you're capable of consider future projects while working on The Hunger Games, or are you immersed inside world you are currently creating so fully it is simply too hard to think about new ideas?
A: We have a number of seeds of ideas going swimming during my head but--given very much of my focus is still on The Hunger Games--it is going to be awhile before one fully emerges and that i can commence to develop it.
Q: The Hunger Games is once a year televised event in which one boy then one girl from each of the twelve districts is made to participate inside a fight-to-the-death on live TV. What do 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 curiosity about 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 brought to tears, or suffering physically--which I've found very disturbing. There's also the possibility for desensitizing the audience, so that when they see real tragedy playing out on, say, the news, it does not possess the impact it should.
Q: In case you were forced to compete inside Hunger Games, so what can you believe 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 would be to have hold of your rapier if there were one available. But the reality is I'd probably get about a four in Training.
Q: What can you hope readers will come away with after they read The Hunger Games trilogy?
A: Questions about how elements from the books may be relevant within their own lives. And, when they are disturbing, what they might do about them.
Q: What were some of the 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 from 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 this time around it is for world control. While it is often a clever twist about the original plot, it means that there's less focus around the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the 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 surely an older, wiser, sadder, and incredibly 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 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 go back 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 such as an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and different challenges of every in 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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