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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other of the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay to the unrest? Katniss. And what's worse, President Snow has managed to get clear that nobody 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 get 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 in the start that The Hunger Games story was intended like a trilogy. Did it actually end the way you planned it from your beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc of the story from gladiator game, to revolution, to war, towards the eventual outcome remained constant throughout the writing process.
Q: We understand you worked on the initial screenplay for any film to get depending on The Hunger Games. What may be the biggest difference between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. When you discover yourself adapting a novel in a two-hour movie you can not take everything with you. The story has to get condensed to match the new form. Then you have the question of how best to adopt a magazine told within the first person and provides tense and transform it right into a satisfying dramatic experience. In the novel, you never leave Katniss for any second and so are privy to all or any of her thoughts so you'll need a strategy to dramatize her inner world and to produce it possible for other characters to exist outside her company. Finally, there is 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 lots of situations are acceptable over a page that may not be on a screen. So how certain moments are depicted may ultimately be inside director's hands.
Q: Do you believe you're able to consider future projects while working on The Hunger Games, or are you immersed inside world you are currently creating so fully who's is just too difficult to consider new ideas?
A: I have a couple of seeds of ideas floating around during my head but--given much of my focus remains on The Hunger Games--it is going to be awhile before one fully emerges i can commence to develop it.
Q: The Hunger Games is once a year televised event where one boy and something girl from each in the twelve districts is made to participate in a very fight-to-the-death on live TV. What do you think 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 curiosity about seeing who wins. The contestants are usually 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 have found very disturbing. There's also the opportunity for desensitizing the audience, to ensure that once they see real tragedy playing out on, say, the news, it does not have the impact it should.
Q: In the big event you were made to compete in the Hunger Games, so what can you think your personal skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I used to be trained in sword-fighting, I guess my best hope could be to acquire hold of your rapier if there were one available. But reality is I'd probably get in relation to its a four in Training.
Q: What does one hope readers will come away with whenever they read The Hunger Games trilogy?
A: Questions about how precisely elements in the books might be relevant inside their own lives. And, when they are disturbing, what you might do about them.
Q: What were some of the favorite novels when you are 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 more Hunger Game, but this time around it's for world control. While it is often a clever twist about the original plot, this means that there's less focus about the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life in a less vibrant Katniss by displaying despair both at those she feels in charge of killing 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 try to control Katniss. Peeta's struggles are very evidenced in his voice, which goes from rage to puzzlement to an unsure resume sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and several confused—very real with distinct voices and agendas/concerns. She acts as an outside chronicler in giving listeners just “the facts” but also respects the individuality and unique challenges of each and every in 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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