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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 do they think should pay for the unrest? Katniss. And what's worse, President Snow has caused it to be clear that nobody else is protected either. Not Katniss's family, not her friends, not the folks 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 talked about books of 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 a trilogy. Did it really end the best way 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, on the eventual outcome remained constant through the writing process.
Q: We understand you worked around the initial screenplay for the film to get based on The Hunger Games. What may be the biggest difference between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. When you will find yourself adapting a novel in a two-hour movie you simply can't take everything with you. The story has to be condensed to fit the newest form. Then there's the question of methods best to look at a novel told inside the first person and present tense and transform it right into a satisfying dramatic experience. In the novel, you don't ever leave Katniss for the second and therefore are privy to any or all of her thoughts so you'll need a approach to dramatize her inner world and to create it feasible for other characters to exist beyond her company. Finally, there's 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 lot of things are acceptable on a page that would not be on a screen. But how certain moments are depicted may ultimately be within the director's hands.
Q: Are you currently able to consider future projects while working on The Hunger Games, or are you immersed inside the world you're currently creating so fully that it is just too hard to take into consideration new ideas?
A: We've a few seeds of ideas boating in my head but--given very much of my focus continues to be on The Hunger Games--it will likely be awhile before one fully emerges and that i can start to develop it.
Q: The Hunger Games is an annual televised event where one boy then one girl from each with the twelve districts is made to participate inside a fight-to-the-death on live TV. Exactly what do you think that the benefit of reality television is--to both kids and adults?
A: Well, they're often set up as games and, like sporting events, there's an fascination with 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 won't hold the impact it should.
Q: If you were forced to compete inside the Hunger Games, what can you believe your personal skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I utilized to be trained in sword-fighting, I guess my best hope will be to have hold of your rapier if there was clearly one available. But reality is I'd probably get in regards to a four in Training.
Q: What does one hope readers should come away with whenever they read The Hunger Games trilogy?
A: Questions about how elements of the books could possibly be relevant of their own lives. And, if they are disturbing, what they might do about them.
Q: What were some of one's favorite novels when you're 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 this time it is for world control. While it can be a clever twist on the original plot, it means that there exists less focus about the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life in a less vibrant Katniss by showing her despair both at those she feels in charge of killing and possibly at her own motives and choices. This is surely an older, wiser, sadder, and extremely 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 as well as the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are very well evidenced in his voice, which goes from rage to puzzlement to an unsure return to sweetness. McCormick also makes all the secondary characters—some malevolent, others benevolent, and a lot of confused—very real with distinct voices and agendas/concerns. She acts as an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and different challenges of each in 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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