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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other of the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who can they think should pay to the 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 folks of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to get one in the most discussed books in the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said in the start that The Hunger Games story was intended being a trilogy. Did it actually end the strategies by which you planned it in the beginning?
A: Very much so. While I didn't know every detail, of course, the arc in the story from gladiator game, to revolution, to war, towards the eventual outcome remained constant through the entire writing process.
Q: We understand you worked about the initial screenplay for the film to be depending on The Hunger Games. What will be the biggest distinction between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. When you're adapting a novel right into a two-hour movie you simply can't take everything with you. The story has being condensed to match the newest form. Then you have the question of methods best to look at a novel told inside first person and provides tense and transform it in a satisfying dramatic experience. In the novel, you won't ever leave Katniss for the second and are privy to any any of her thoughts so you need a way to dramatize her inner world and to make it easy for other characters to exist outside 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 the situation is acceptable on a page that would not be over a screen. So how certain moments are depicted could eventually be inside director's hands.
Q: Do you think that 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 who's is too hard to consider new ideas?
A: I've a number of seeds of ideas boating during my head but--given that much of my focus continues to be on The Hunger Games--it will probably be awhile before one fully emerges i can commence to develop it.
Q: The Hunger Games is an annual televised event through which one boy then one girl from each with the twelve districts is expected to participate in the fight-to-the-death on live TV. What can you think the selling point of reality television is--to both kids and adults?
A: Well, they're often create as games and, like sporting events, there's an fascination with seeing who wins. The contestants are generally unknown, which means they are relatable. Sometimes they have very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I find very disturbing. There's also the potential for desensitizing the audience, to ensure that once they see real tragedy playing out on, say, the news, it doesn't have the impact it should.
Q: If you were instructed to compete inside 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 had been trained in sword-fighting, I guess my best hope can be to have hold of your rapier if there was clearly one available. But the facts is I'd probably get about a four in Training.
Q: What do you hope readers will come away with whenever they read The Hunger Games trilogy?
A: Questions about how exactly elements with the books could possibly be relevant in their own lives. And, if they are disturbing, what you 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 in one more Hunger Game, but this time around it can be for world control. While it is really a clever twist for the original plot, it means that there is certainly less focus on the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life into a less vibrant Katniss by displaying despair both at those she feels accountable for killing and possibly at her 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 and the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very well evidenced as part of his voice, which goes from rage to puzzlement to a unsure resume sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and several confused—very real with distinct voices and agendas/concerns. She acts just like an outside chronicler in giving listeners just “the facts” but additionally 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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