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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it from the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who will they think should pay for that unrest? Katniss. And what's worse, President Snow has caused it to be clear that nobody 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 being one from 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 way you planned it in the beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc in the story from gladiator game, to revolution, to war, for 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 will be the biggest distinction between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. When you're adapting a novel right into a two-hour movie you can not take everything with you. The story has being condensed to fit the modern form. Then you have the question of how best to take the sunday paper told inside the first person and provides tense and transform it right into a satisfying dramatic experience. In the novel, you don't ever leave Katniss for a second and so are privy to any any of her thoughts so you may need a way to dramatize her inner world and to generate it possible for other characters to exist beyond her company. Finally, there's the challenge of the way to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A lot of the situation is acceptable on a page that couldn't survive on the screen. But how certain moments are depicted will ultimately be inside 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're currently creating so fully which it is too hard to think about new ideas?
A: We've a number of seeds of ideas going swimming during my head but--given that much of my focus continues to be on The Hunger Games--it will probably be awhile before one fully emerges and that i can commence to develop it.
Q: The Hunger Games is a yearly televised event by which one boy then one girl from each in the twelve districts is made to participate in a fight-to-the-death on live TV. What do you think that 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 interest in seeing who wins. The contestants are generally unknown, which means they are relatable. Sometimes they've very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I find very disturbing. There's also the possibility for desensitizing the audience, so that whenever they see real tragedy playing out on, say, the news, this doesn't happen contain the impact it should.
Q: In case you were made to compete inside Hunger Games, exactly what do you believe your personal skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I had been trained in sword-fighting, I guess my best hope could be to acquire hold of your rapier if there was clearly one available. But reality is I'd probably get with relation to a four in Training.
Q: What would you hope readers should come away with when they read The Hunger Games trilogy?
A: Questions about how exactly elements in the books might be relevant within their own lives. And, if they're disturbing, the things they might do about them.
Q: What were some of your 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 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 on this occasion it really is for world control. While it is often a clever twist on the original plot, this means that there exists less focus about the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life in a less vibrant Katniss by showing her despair both at those she feels in charge of killing and 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 with the rebels and the victim of President Snow, who uses Peeta to make an endeavor to control Katniss. Peeta's struggles are very well evidenced in his voice, which goes from rage to puzzlement to an unsure go back to sweetness. McCormick also makes all the secondary characters—some malevolent, others benevolent, and a great deal of confused—very real with distinct voices and agendas/concerns. She acts just like an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and different challenges of every from 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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