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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out of the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay for your unrest? Katniss. And what's worse, President Snow has caused it to be 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 be one with the most discussed 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 as being a trilogy. Did it really end just how you planned it from the beginning?
A: Very much so. While I did not 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 entire writing process.
Q: We understand you worked about the initial screenplay to get a film to be according to The Hunger Games. What could be the biggest distinction between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. When you are adapting a novel right into a two-hour movie you can not take everything with you. The story has to get condensed to match the brand new form. Then there is the question of how best to look at the sunday paper told inside first person and present tense and transform it in to a satisfying dramatic experience. In the novel, you never leave Katniss to get a 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 produce it feasible for other characters to exist outside of her company. Finally, you have the challenge of the way to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A lot of situations are acceptable on the page that may not be on a screen. But how certain moments are depicted will ultimately be inside director's hands.
Q: Are you capable of consider future projects while working on The Hunger Games, or are you immersed in the world you're currently creating so fully who's is too difficult to consider new ideas?
A: We've a few seeds of ideas going swimming within my head but--given that much of my focus remains on The Hunger Games--it is going to be awhile before one fully emerges and I can start to develop it.
Q: The Hunger Games is an annual televised event in which one boy and something girl from each from the twelve districts is made to participate inside a fight-to-the-death on live TV. What can 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 interest in seeing who wins. The contestants are often unknown, which ensures they are relatable. Sometimes they've got very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I have found very disturbing. There's also the opportunity for desensitizing the audience, to ensure after they see real tragedy playing out on, say, the news, it does not hold the impact it should.
Q: In the big event you were instructed to compete in the Hunger Games, what can you think that your special 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 would be to obtain hold of your rapier if there is one available. But the facts is I'd probably get in relation to a four in Training.
Q: What does one hope readers can come away with after they read The Hunger Games trilogy?
A: Questions about how elements of the books could be relevant within their own lives. And, when they are disturbing, what they might do about them.
Q: What were some of one's 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 now it is for world control. While it is often a clever twist on the original plot, this means that there exists less focus about the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life into a less vibrant Katniss by showing her despair both at those she feels in charge of killing and at her very own 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 with 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 an unsure go back to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and several confused—very real with distinct voices and agendas/concerns. She acts such as an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and unique 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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