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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out 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 the 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 being one with the most talked about 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 your start that The Hunger Games story was intended as a trilogy. Did it actually end the strategies by which you planned it through the beginning?
A: Very much so. While I did not know every detail, of course, the arc in the story from gladiator game, to revolution, to war, for the eventual outcome remained constant throughout the writing process.
Q: We understand you worked about the initial screenplay for a film to get depending on The Hunger Games. What could be 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 in a two-hour movie you cannot take everything with you. The story has to be condensed to suit the modern form. Then there's the question of methods best to adopt a novel told in the first person and present tense and transform it in to a satisfying dramatic experience. In the novel, you never leave Katniss to get a second and so are privy to any or all of her thoughts so you will need a approach to dramatize her inner world and to make it feasible for other characters to exist outside of her company. Finally, there is the challenge of the easiest 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 the situation is acceptable on the page that would not be on a screen. But exactly how certain moments are depicted could eventually be inside the director's hands.
Q: Are you capable of consider future projects while working on The Hunger Games, or are you immersed inside world you happen to be currently creating so fully who's is too hard to take into consideration new ideas?
A: I've a few seeds of ideas floating around in my head but--given very much of my focus is still on The Hunger Games--it will probably be awhile before one fully emerges and I can start to develop it.
Q: The Hunger Games is once a year televised event through which one boy and one girl from each in the twelve districts is instructed to participate in a very 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 generally unknown, which means they are relatable. Sometimes they've very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I've found very disturbing. There's also the possibility for desensitizing the audience, so that after they see real tragedy playing out on, say, the news, it does not possess the impact it should.
Q: In case you were forced to compete in the Hunger Games, what do you think 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 obtain hold of an rapier if there was one available. But reality is I'd probably get with relation to its a four in Training.
Q: What can you hope readers should come away with when they read The Hunger Games trilogy?
A: Questions about how elements with the books could be relevant within their own lives. And, when they are disturbing, whatever 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 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 a single more Hunger Game, but now it really is for world control. While it can be a clever twist for the original plot, this means that there is less focus around the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick continues 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 intensely 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 as well as the victim of President Snow, who uses Peeta to make an endeavor to control Katniss. Peeta's struggles are very evidenced as part of his voice, which goes from rage to puzzlement to a unsure come back to sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and a lot 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 and 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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