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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 will they think should pay for that unrest? Katniss. And what's worse, President Snow has managed to get clear that no person 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 being one from the most talked about books from 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 being a trilogy. Did it actually end the best way you planned it through 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, for the eventual outcome remained constant through the entire writing process.
Q: We understand you worked about the initial screenplay for the film to become depending on 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't take everything with you. The story has to get condensed to suit the modern form. Then there is the question of how best to take the sunday paper told inside the first person and present tense and transform it into a satisfying dramatic experience. In the novel, you never leave Katniss for the second and are privy to all of her thoughts so you will need a strategy to dramatize her inner world and to make it feasible for other characters to exist outside 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 large amount of situations are acceptable on the page that may not be over a screen. But wait, how certain moments are depicted could eventually be inside director's hands.
Q: Are you currently capable of consider future projects while working on The Hunger Games, or are you immersed within the world you might be currently creating so fully it is just too hard to think about new ideas?
A: We've several seeds of ideas floating around in my head but--given that much 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 an annual televised event in which one boy the other girl from each from the twelve districts is expected to participate in a fight-to-the-death on live TV. What can you think the appeal of reality television is--to both kids and adults?
A: Well, they're often setup as games and, like sporting events, there's an interest in seeing who wins. The contestants are usually unknown, which makes them relatable. Sometimes they have very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I find very disturbing. There's also the opportunity for desensitizing the audience, in order that when they see real tragedy playing out on, say, the news, it does not contain the impact it should.
Q: Should you were made to compete inside 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 had been trained in sword-fighting, I guess my best hope can be to get hold of the rapier if there is one available. But the truth is I'd probably get with relation to its 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 exactly elements of the books might be relevant inside their own lives. And, if they're disturbing, whatever they might do about them.
Q: What were some of your respective 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 a single more Hunger Game, but now it really is for world control. While it is often a clever twist on the original plot, this means that there's less focus around the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life into a less vibrant Katniss by displaying despair both at those she feels in charge of killing and and at her motives and choices. This is definitely 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 with the rebels along with the victim of President Snow, who uses Peeta to make an attempt to control Katniss. Peeta's struggles are very 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 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 in addition 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.
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