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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other with the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who can they think should pay for the 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 being one in the most mentioned books in the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said from the start that The Hunger Games story was intended as being a trilogy. Did it genuinely end the way you planned it through the beginning?
A: Very much so. While I didn't know every detail, of course, the arc of the story from gladiator game, to revolution, to war, towards the eventual outcome remained constant through the writing process.
Q: We understand you worked for the initial screenplay to get a film to become depending on The Hunger Games. What is the biggest distinction 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 right into a two-hour movie you can't take everything with you. The story has being condensed to match the modern form. Then there's the question of how best to consider the sunday paper told inside the first person and offer 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 all of her thoughts so you may need a method to dramatize her inner world and to generate it feasible for other characters to exist beyond her company. Finally, you have the challenge of the simplest way to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A lot of situations are acceptable on a page that wouldn't be on the screen. But exactly how certain moments are depicted will ultimately be inside 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 are currently creating so fully that it is just too difficult to take into consideration new ideas?
A: We have a number of seeds of ideas floating around within 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 I can begin to develop it.
Q: The Hunger Games is a yearly televised event through which one boy the other girl from each in the twelve districts is made to participate in a very fight-to-the-death on live TV. Exactly what do you believe 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 means they are relatable. Sometimes they've got 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 once they see real tragedy playing out on, say, the news, it won't hold the impact it should.
Q: If you were forced to compete in the Hunger Games, what do you think that your personal 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 would be to have hold of the rapier if there were one available. But reality is I'd probably get in relation to a four in Training.
Q: What would you hope readers should come away with once they read The Hunger Games trilogy?
A: Questions about how precisely elements with the books may be relevant of their own lives. And, if they're disturbing, what you might do about them.
Q: What were some of one's 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 single more Hunger Game, but this time around it really is for world control. While it can be a clever twist on the original plot, it indicates that there is certainly less focus for the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life in to a less vibrant Katniss by displaying despair both at those she feels responsible for killing and possibly at her own 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 in the rebels and the victim of President Snow, who uses Peeta to make an endeavor to control Katniss. Peeta's struggles are well evidenced in 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 lot of confused—very real with distinct voices and agendas/concerns. She acts just like an outside chronicler in giving listeners just “the facts” but also respects the individuality and different challenges of each one of 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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