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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out 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 caused it to be clear that no one 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 to be one in 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 your start that The Hunger Games story was intended being a trilogy. Did it really end the strategies by which you planned it in the beginning?
A: Very much so. While Some know every detail, of course, the arc from the story from gladiator game, to revolution, to war, towards the eventual outcome remained constant through the writing process.
Q: We understand you worked for the initial screenplay for the film being depending on The Hunger Games. What will be the biggest difference between writing a novel and writing a screenplay?
A: There have been 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 you have the question of methods best to look at a book told in the first person and provides tense and transform it into a satisfying dramatic experience. In the novel, you won't ever leave Katniss for a second and therefore are privy to any or all of her thoughts so you may need a method to dramatize her inner world and to create it feasible for other characters to exist outside her company. Finally, you have the challenge of the way to present the violence while still maintaining a PG-13 rating in order that your core audience can view it. A lot of things are acceptable over a page that may not be on the screen. But how certain moments are depicted will ultimately be inside director's hands.
Q: Are you in a posture 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 just too hard to take into consideration new ideas?
A: We've a number of seeds of ideas floating around within my head but--given a great deal of of my focus is still on The Hunger Games--it will probably be awhile before one fully emerges and i also can start to develop it.
Q: The Hunger Games is once a year televised event through which one boy and something girl from each in the twelve districts is forced to participate inside a fight-to-the-death on live TV. Exactly what do you think 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 desire for seeing who wins. The contestants are usually unknown, which means they are relatable. Sometimes they have very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I have found very disturbing. There's also the possibility for desensitizing the audience, in order that once they see real tragedy playing out on, say, the news, it does not have the impact it should.
Q: Should you were expected to compete within the Hunger Games, what can you think your personal skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I was trained in sword-fighting, I guess my best hope can be to acquire hold of a rapier if there was one available. But the facts is I'd probably get of a four in Training.
Q: What does one hope readers should come away with once they read The Hunger Games trilogy?
A: Questions about how exactly elements of the books could possibly be relevant of their own lives. And, when they are disturbing, whatever they might do about them.
Q: What were some of one's 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 with 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 around it really is for world control. While it can be a clever twist around the original plot, it means that there is less focus for the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life in to a less vibrant Katniss by showing her despair both at those she feels responsible for killing and and at her own motives and choices. This is surely 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 in the rebels and the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are very well evidenced as part of his voice, which goes from rage to puzzlement to an unsure return to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and a lot of confused—very real with distinct voices and agendas/concerns. She acts as an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and unique challenges of 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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