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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 do they think should pay for your unrest? Katniss. And what's worse, President Snow has managed to get clear that no one else is safe 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 get one with the most brought up books of 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 being a trilogy. Did it actually end just how you planned it from the beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc in 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 for any film being based 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 find yourself adapting a novel right into a two-hour movie you can not take everything with you. The story has being condensed to fit the modern form. Then there is the question of methods best to look at the sunday paper told inside first person and present tense and transform it right into a satisfying dramatic experience. In the novel, you won't ever leave Katniss to get a second and therefore are privy to all or any of her thoughts so you need a strategy to dramatize her inner world and to generate it feasible for other characters to exist outside of 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 great deal of the situation is acceptable on a page that couldn't survive on the screen. But wait, how certain moments are depicted will ultimately be in the director's hands.
Q: Have you been in a posture to consider future projects while working on The Hunger Games, or are you immersed within the world you are currently creating so fully that it is just too difficult to take into consideration new ideas?
A: I have several seeds of ideas going swimming inside my head but--given much of my focus remains on The Hunger Games--it will likely 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 and something girl from each of the twelve districts is expected to participate in a very 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 setup as games and, like sporting events, there's an desire for seeing who wins. The contestants are often unknown, which makes them relatable. Sometimes they have very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I find very disturbing. There's also the possibility for desensitizing the audience, to ensure that when they see real tragedy playing out on, say, the news, it won't possess the impact it should.
Q: If you were expected to compete inside Hunger Games, exactly what do you think that your special skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I utilized to be trained in sword-fighting, I guess my best hope could be to acquire hold of the rapier if there was clearly one available. But the truth is I'd probably get in regards to 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 precisely elements with the books could possibly be relevant in their own lives. And, if they are disturbing, the things they might do about them.
Q: What were some of the favorite novels when you are 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 single more Hunger Game, but on this occasion it really is for world control. While it is really a clever twist on the original plot, this means that there exists less focus for the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life into a less vibrant Katniss by showing her despair both at those she feels responsible for killing and and also at her very own motives and choices. This is definitely 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 along with the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are very 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 lots of confused—very real with distinct voices and agendas/concerns. She acts as an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and unique challenges of each one with 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.
