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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out 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-one else is protected 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 be one of the most mentioned books of the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said from 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 Some know every detail, of course, the arc from the story from gladiator game, to revolution, to war, on the eventual outcome remained constant throughout the writing process.
Q: We understand you worked about the initial screenplay to get a film to get depending on The Hunger Games. What may be the biggest distinction between writing a novel and writing a screenplay?
A: There have been 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 to become condensed to match the newest form. Then there's the question of how best to adopt a magazine told inside the first person and provides tense and transform it right into a satisfying dramatic experience. In the novel, you don't ever leave Katniss to get a second and are privy to all of her thoughts so you may need a strategy to dramatize her inner world and to produce it feasible for other characters to exist outside of her company. Finally, there is the challenge of how you can present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A great deal of things are acceptable over a page that wouldn't be on the screen. But wait, how certain moments are depicted will ultimately be inside director's hands.
Q: Do you think you're in a posture 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 hard to consider new ideas?
A: We have a couple of seeds of ideas going swimming inside my head but--given that much 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 in which one boy then one girl from each of the twelve districts is expected to participate in a very 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 curiosity about seeing who wins. The contestants are often unknown, which means they are 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 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 instructed to compete inside Hunger Games, so what can you imagine your 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 could be to obtain hold of a rapier if there were one available. But the reality is I'd probably get with relation to its a four in Training.
Q: What can you hope readers should come away with once they read The Hunger Games trilogy?
A: Questions about how precisely elements in the books could possibly be relevant inside their own lives. And, if they're disturbing, what you might do about them.
Q: What were some of your 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 from 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 more Hunger Game, but this time around it really is for world control. While it is a clever twist on the original plot, this means 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 right into a less vibrant Katniss by displaying despair both at those she feels responsible for killing and at her very own motives and choices. This is 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 from the rebels as well as the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are very evidenced in his voice, which goes from rage to puzzlement to a unsure return to sweetness. McCormick also helps to produce the secondary characters—some malevolent, others benevolent, and several confused—very real with distinct voices and agendas/concerns. She acts such as an outside chronicler in giving listeners just “the facts” but also respects the individuality and unique challenges of every from 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.
