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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other in the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who can they think should pay for that unrest? Katniss. And what's worse, President Snow has caused it to be clear that no-one else is protected either. Not Katniss's family, not her friends, not individuals of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to become one of the most brought up books from the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said through the start that The Hunger Games story was intended as being a trilogy. Did it actually end the best way you planned it through 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, to the eventual outcome remained constant throughout the writing process.
Q: We understand you worked for the initial screenplay for a film being based on The Hunger Games. What is the biggest distinction between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. When you are adapting a novel right into a two-hour movie you simply can't take everything with you. The story has to become condensed to suit the modern form. Then there is the question of methods best to consider a magazine told inside the first person and offer tense and transform it in a satisfying dramatic experience. In the novel, you won't ever leave Katniss for a second and so are privy to all of her thoughts so you need a approach to dramatize her inner world and to make it possible for other characters to exist outside of her company. Finally, you have the challenge of the easiest way to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A lot of situations are acceptable on a page that couldn't survive on a screen. But exactly how certain moments are depicted could eventually be inside the director's hands.
Q: Have you been in a posture to consider future projects while working on The Hunger Games, or are you immersed in the world you occur to be currently creating so fully which it is just too challenging to consider new ideas?
A: I have a number of seeds of ideas going swimming in my head but--given that much of my focus is still on The Hunger Games--it is going to be awhile before one fully emerges and i also can begin to develop it.
Q: The Hunger Games is a yearly televised event through which one boy and something girl from each with the twelve districts is forced to participate in the fight-to-the-death on live TV. Exactly what do you believe 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 often unknown, which makes them relatable. Sometimes they have very talented people performing. Then there's 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 that when they see real tragedy playing out on, say, the news, it won't hold the impact it should.
Q: In case you were made to compete inside Hunger Games, so what can you believe 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 can be to acquire hold of your rapier if there was clearly one available. But the reality is I'd probably get of a four in Training.
Q: What would you hope readers should come away with whenever they read The Hunger Games trilogy?
A: Questions about how exactly elements with the books might be relevant in their own lives. And, when they are disturbing, the things they might do about them.
Q: What were some of your respective 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 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 a single more Hunger Game, but this time around it's for world control. While it can be a clever twist about the original plot, this means that there is certainly less focus for the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life in a less vibrant Katniss by showing her despair both at those she feels responsible for killing and possibly at her 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 in the rebels along with the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are well evidenced as part of his voice, which goes from rage to puzzlement for an unsure resume sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and lots of confused—very real with distinct voices and agendas/concerns. She acts as an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and unique challenges of every from the main characters. A successful completion of an 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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