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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 can they think should pay for that unrest? Katniss. And what's worse, President Snow has managed to get clear that no one else is protected 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 in 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 genuinely end the strategies by which you planned it from 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, for the eventual outcome remained constant throughout the writing process.
Q: We understand you worked about the initial screenplay for a film to get depending on The Hunger Games. What may be the biggest distinction between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. When you will find yourself adapting a novel right into a two-hour movie you can't take everything with you. The story has to be condensed to match the modern form. Then there is the question of methods best to consider a magazine told in the first person and present tense and transform it in a satisfying dramatic experience. In the novel, you never leave Katniss for a second and are privy to all of her thoughts so you may need a method to dramatize her inner world and to produce it feasible for other characters to exist outside of her company. Finally, you have the challenge of how you can present the violence while still maintaining a PG-13 rating so that your core audience can view it. A large amount of things are acceptable on a page that wouldn't be over a screen. But exactly how certain moments are depicted will ultimately be within 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 might be currently creating so fully who's is just too hard to take into consideration new ideas?
A: We've several seeds of ideas boating within my head but--given a whole lot of of my focus remains on The Hunger Games--it will probably be awhile before one fully emerges and i also can commence to develop it.
Q: The Hunger Games is an annual televised event in which one boy the other girl from each from the twelve districts is expected to participate inside a fight-to-the-death on live TV. Exactly what do you imagine the selling point 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 often unknown, which means they are relatable. Sometimes they've 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 opportunity for desensitizing the audience, in order that when they see real tragedy playing out on, say, the news, it won't contain the impact it should.
Q: If you were expected to compete inside the Hunger Games, what can you think that your 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 can be to acquire hold of an rapier if there is one available. But the reality is I'd probably get with regards to a four in Training.
Q: What do you hope readers will come away with when they read The Hunger Games trilogy?
A: Questions about how precisely elements from the books might be relevant of their own lives. And, if they are disturbing, whatever they might do about them.
Q: What were some of the 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 in 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 is for world control. While it is often a clever twist around the original plot, this means that there is less focus around the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life in to a less vibrant Katniss by showing her despair both at those she feels in charge of killing and at her motives and choices. This is 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 and control Katniss. Peeta's struggles are very evidenced as part of his voice, which goes from rage to puzzlement to a unsure resume sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and a whole 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 additionally respects the individuality and unique challenges of each and every of the main characters. A successful completion of a 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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