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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 that unrest? Katniss. And what's worse, President Snow has made it clear that no person else is safe 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 be one from 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 from 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 I didnrrrt know every detail, of course, the arc with the story from gladiator game, to revolution, to war, on the eventual outcome remained constant throughout the writing process.
Q: We understand you worked about the initial screenplay for the film to be based on The Hunger Games. What is the biggest distinction between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. If you are 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 is the question of methods best to look at a book told in the first person and provides tense and transform it right into a satisfying dramatic experience. In the novel, you never leave Katniss for a second and therefore are privy to all or any of her thoughts so you will need a method to dramatize her inner world and to make it possible for other characters to exist outside of her company. Finally, there's the challenge of how to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A large amount of things are acceptable over a page that couldn't survive over a screen. But how certain moments are depicted will ultimately be in the director's hands.
Q: Do you imagine you're capable to consider future projects while working on The Hunger Games, or are you immersed inside world you occur to be 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 a ton of of my focus continues to be on The Hunger Games--it is going to be awhile before one fully emerges and i also can start to develop it.
Q: The Hunger Games is once a year televised event by which one boy then one girl from each with the twelve districts is made to participate in the fight-to-the-death on live TV. What do you imagine 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 desire for seeing who wins. The contestants are often unknown, which makes them 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've found very disturbing. There's also the possibility for desensitizing the audience, in order that when they see real tragedy playing out on, say, the news, this doesn't happen have the impact it should.
Q: In case you were forced to compete within the Hunger Games, exactly what do you imagine 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 could be to acquire hold of a rapier if there is one available. But the reality is I'd probably get with relation to a four in Training.
Q: What can you hope readers can come away with when they read The Hunger Games trilogy?
A: Questions about how precisely elements with the books could possibly be relevant inside their own lives. And, when they are disturbing, the things they might do about them.
Q: What were some of your 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 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 one more Hunger Game, but on this occasion it's for world control. While it is often a clever twist around the original plot, this means that there's less focus about the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life into a less vibrant Katniss by showing her despair both at those she feels responsible for killing and and also at her motives and choices. This is 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 and also 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 for an unsure return to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and many confused—very real with distinct voices and agendas/concerns. She acts such as an outside chronicler in giving listeners just “the facts” but also respects the individuality and different challenges of each one in the main characters. A successful completion of the 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.
