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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 can they think should pay for that 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 people 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 with 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 like a trilogy. Did it actually end just how you planned it from 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, on the eventual outcome remained constant through the writing process.
Q: We understand you worked about the initial screenplay for any film to get according to The Hunger Games. What may 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 into a two-hour movie you can't take everything with you. The story has being condensed to fit the new form. Then you have the question of methods best to take a magazine told within the first person and provides tense and transform it right into a satisfying dramatic experience. In the novel, you won't ever leave Katniss to get a second and are privy to all or any of her thoughts so you need a way to dramatize her inner world and to make it possible for other characters to exist outside her company. Finally, you have the challenge of the best way to present the violence while still maintaining a PG-13 rating in order that your core audience can view it. A great deal of things are acceptable over a page that wouldn't be over a screen. But how certain moments are depicted could eventually be in the director's hands.
Q: Have you been able to consider future projects while working on The Hunger Games, or are you immersed in the world you might be currently creating so fully that it is too hard to consider new ideas?
A: I have a couple of seeds of ideas boating within my head but--given a ton of of my focus is still on The Hunger Games--it will probably be awhile before one fully emerges and I can begin to develop it.
Q: The Hunger Games is once a year televised event in which one boy and something girl from each in the twelve districts is forced to participate in the 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 setup as games and, like sporting events, there's an desire for seeing who wins. The contestants are usually unknown, which ensures they are relatable. Sometimes they have very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I have found very disturbing. There's also the potential for desensitizing the audience, to ensure once they see real tragedy playing out on, say, the news, it does not contain the impact it should.
Q: Should you were made to compete inside the Hunger Games, so what can you think your special 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 will be to obtain hold of an rapier if there was clearly one available. But the truth is I'd probably get of a four in Training.
Q: What would you hope readers will come away with when they read The Hunger Games trilogy?
A: Questions about how elements of the books might be relevant in their own lives. And, when they are disturbing, whatever they might do about them.
Q: What were some of the 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 in a single more Hunger Game, but on this occasion it is for world control. While it is a clever twist around the original plot, it indicates that there is certainly less focus on the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life right into a less vibrant Katniss by showing her despair both at those she feels accountable for killing and possibly 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 of the rebels as well as the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very well evidenced in the voice, which goes from rage to puzzlement to an unsure resume sweetness. McCormick also helps to produce the secondary characters—some malevolent, others benevolent, and a great deal 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 different challenges of each 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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