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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out of 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 person else is safe 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 become one with the most mentioned books with 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 really end just how 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 about the initial screenplay for a film to be based on The Hunger Games. What could be the biggest difference between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. When you discover yourself adapting a novel in to a two-hour movie you cannot take everything with you. The story has to be condensed to match the brand new form. Then you have the question of methods best to adopt the sunday paper told inside the first person and present tense and transform it in a satisfying dramatic experience. In the novel, you won't ever leave Katniss to get a second and therefore are privy to any any of her thoughts so you'll need a strategy to dramatize her inner world and to make it easy for other characters to exist outside of her company. Finally, there is the challenge of the way to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A large amount of the situation is acceptable over a page that wouldn't be on a screen. But exactly how certain moments are depicted will ultimately be inside the director's hands.
Q: Are you in a posture to consider future projects while working on The Hunger Games, or are you immersed inside world you occur to be currently creating so fully it is just too difficult to think about new ideas?
A: We've a number of seeds of ideas going swimming in my head but--given a whole lot of of my focus continues to be on The Hunger Games--it is going to be awhile before one fully emerges i can start to develop it.
Q: The Hunger Games is a yearly televised event through which one boy and one girl from each from the twelve districts is expected to participate in a fight-to-the-death on live TV. What can you think the appeal of reality television is--to both kids and adults?
A: Well, they're often setup as games and, like sporting events, there's an fascination with seeing who wins. The contestants are generally unknown, which ensures they are 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 potential for desensitizing the audience, to ensure after they see real tragedy playing out on, say, the news, it doesn't have the impact it should.
Q: If you were made to compete in the Hunger Games, so what can you believe your special 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 an rapier if there was one available. But the reality is I'd probably get in relation to its a four in Training.
Q: What do you hope readers will come away with whenever they read The Hunger Games trilogy?
A: Questions about how exactly elements of the books may be relevant within their own lives. And, if they're disturbing, whatever they might do about them.
Q: What were some of your favorite novels when you were 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 in one more Hunger Game, but now it really is for world control. While it is really a clever twist for the original plot, it means that there's less focus around the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life into a less vibrant Katniss by displaying despair both at those she feels in charge of killing and possibly at her motives and choices. This is definitely 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 with the rebels along with the victim of President Snow, who uses Peeta to make an effort to control Katniss. Peeta's struggles are very evidenced as part of his voice, which goes from rage to puzzlement to an unsure go back to sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and a lot 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 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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