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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out in the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who will they think should pay for that unrest? Katniss. And what's worse, President Snow has managed to get 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 get one with the most talked about 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 being a trilogy. Did it really end the way you planned it from the beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc of 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 for the initial screenplay for a film to get 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 discover yourself 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 you have the question of how best to look at the sunday paper told inside the first person and provides tense and transform it into a satisfying dramatic experience. In the novel, you don't ever leave Katniss for the second and so are privy to all of her thoughts so you may need a approach to dramatize her inner world and to produce it possible for other characters to exist outside of her company. Finally, there is 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 great deal of situations are acceptable on a page that may not be on the screen. So how certain moments are depicted could eventually be inside director's hands.
Q: Do you think that you're able to consider future projects while working on The Hunger Games, or are you immersed within the world you happen to be currently creating so fully it is too challenging to take into consideration new ideas?
A: I have a couple of seeds of ideas floating around in my head but--given a whole lot of of my focus remains on The Hunger Games--it is going to be awhile before one fully emerges and I can begin to develop it.
Q: The Hunger Games is a yearly televised event where one boy and one girl from each from the twelve districts is made to participate in 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 desire for seeing who wins. The contestants are generally unknown, which means they are relatable. Sometimes they have very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I find very disturbing. There's also the potential for desensitizing the audience, to ensure that once they see real tragedy playing out on, say, the news, it won't have the impact it should.
Q: In case you were expected to compete inside the Hunger Games, what do you imagine 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 your rapier if there were one available. But the facts is I'd probably get in regards to a four in Training.
Q: What does one hope readers can come away with once they read The Hunger Games trilogy?
A: Questions about how exactly elements with the books may be relevant of their own lives. And, when they are disturbing, what they might do about them.
Q: What were some of your 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 with 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 around it is for world control. While it can be a clever twist about the original plot, it indicates that there is certainly less focus around the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life in to a less vibrant Katniss by displaying despair both at those she feels accountable for killing and at her very own motives and choices. This is definitely an older, wiser, sadder, and incredibly 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 of the rebels and the victim of President Snow, who uses Peeta to make an endeavor to control Katniss. Peeta's struggles are well evidenced as part of his voice, which goes from rage to puzzlement to a unsure come back to sweetness. McCormick also makes all the secondary characters—some malevolent, others benevolent, and lots of confused—very real with distinct voices and agendas/concerns. She acts just like an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and unique challenges of each with 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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