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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 can they think should pay for your unrest? Katniss. And what's worse, President Snow has managed to get 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 from the most discussed 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 a trilogy. Did it actually end the way you planned it from the beginning?
A: Very much so. While I did not know every detail, of course, the arc of the story from gladiator game, to revolution, to war, to the eventual outcome remained constant through the entire writing process.
Q: We understand you worked for the initial screenplay to get a film to be depending on The Hunger Games. What is the biggest difference between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. When you're adapting a novel in a two-hour movie you can't take everything with you. The story has being condensed to suit the modern form. Then you have the question of how best to adopt a magazine told in the first person and provides tense and transform it into a satisfying dramatic experience. In the novel, you won't ever leave Katniss for the second and are privy to any or all of her thoughts so you may need a approach to dramatize her inner world and to produce it easy for other characters to exist beyond her company. Finally, there is the challenge of the easiest way to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A lot of things are acceptable on a page that wouldn't be over a screen. So how certain moments are depicted will ultimately be inside the director's hands.
Q: Are you currently in a posture to consider future projects while working on The Hunger Games, or are you immersed inside the world you're currently creating so fully which it is too difficult to think about new ideas?
A: We have a couple of seeds of ideas boating during my head but--given a good deal of of my focus is still on The Hunger Games--it will probably be awhile before one fully emerges i can start to develop it.
Q: The Hunger Games is a yearly televised event through which one boy then one girl from each in the twelve districts is made 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 means they are relatable. Sometimes they've got very talented people performing. Then there is 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 once they see real tragedy playing out on, say, the news, this doesn't happen have the impact it should.
Q: In case you were made to compete within the Hunger Games, exactly what do you think that your skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I accustomed to be trained in sword-fighting, I guess my best hope can be to get hold of an rapier if there is one available. But the facts is I'd probably get about a four in Training.
Q: What does one hope readers should come away with when they read The Hunger Games trilogy?
A: Questions about how elements of the books could possibly 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 had been 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 now it's for world control. While it is often a clever twist around the original plot, this means that there is certainly less focus about the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life in to a less vibrant Katniss by showing her despair both at those she feels accountable for killing and possibly at her own motives and choices. This is surely an older, wiser, sadder, and very 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 well evidenced in the voice, which goes from rage to puzzlement to a unsure return to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and a great deal of confused—very real with distinct voices and agendas/concerns. She acts like an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and different challenges of each of 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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