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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it in the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay to the unrest? Katniss. And what's worse, President Snow has made it clear that no person 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 being one from the most brought up books in 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 genuinely end the strategies by which you planned it from your beginning?
A: Very much so. While Some know every detail, of course, the arc from the story from gladiator game, to revolution, to war, for the eventual outcome remained constant through the writing process.
Q: We understand you worked about the initial screenplay for any film to get according to The Hunger Games. What could be the biggest difference between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. If you are adapting a novel in a two-hour movie you can not take everything with you. The story has being condensed to match the newest form. Then you have the question of how best to consider a magazine told inside first person and provides tense and transform it in to a satisfying dramatic experience. In the novel, you won't ever leave Katniss for any second and so are privy to all of her thoughts so you'll need a way 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 how 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 the page that couldn't survive on a screen. But wait, how certain moments are depicted will ultimately be within the director's hands.
Q: Are you currently in a situation to consider future projects while working on The Hunger Games, or are you immersed inside the world you get lucky and be currently creating so fully that it is just too difficult to consider new ideas?
A: I've several seeds of ideas floating around inside 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 that i can start to develop it.
Q: The Hunger Games is an annual televised event through which one boy the other girl from each of the twelve districts is instructed to participate in the fight-to-the-death on live TV. What do 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 desire for seeing who wins. The contestants are usually unknown, which ensures 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'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, this doesn't happen possess the impact it should.
Q: Should you were expected to compete inside Hunger Games, so what can you think that your skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I was trained in sword-fighting, I guess my best hope could be to acquire hold of your rapier if there is one available. But reality is I'd probably get in regards to a four in Training.
Q: What would you hope readers will come away with after they read The Hunger Games trilogy?
A: Questions about how precisely elements with the books could be relevant within their own lives. And, if they're disturbing, the things they might do about them.
Q: What were some of your 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 of 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 can be for world control. While it is really a clever twist for the original plot, this means that there is certainly less focus for the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life right into a less vibrant Katniss by displaying despair both at those she feels in charge of killing and and also at her motives and choices. This is definitely 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 along with the victim of President Snow, who uses Peeta to make an endeavor to control Katniss. Peeta's struggles are well evidenced in his voice, which goes from rage to puzzlement to an unsure return to sweetness. McCormick also makes all the secondary characters—some malevolent, others benevolent, and many confused—very real with distinct voices and agendas/concerns. She acts like an outside chronicler in giving listeners just “the facts” but also respects the individuality and unique challenges of each and every with 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.
