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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it with the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay for that unrest? Katniss. And what's worse, President Snow has made it 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 being one in the most mentioned books in 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 like a trilogy. Did it really end the way you planned it through the beginning?
A: Very much so. While Some know every detail, of course, the arc with the story from gladiator game, to revolution, to war, on the eventual outcome remained constant through the writing process.
Q: We understand you worked for the initial screenplay for a film to get depending on The Hunger Games. What may be the biggest difference between writing a novel and writing a screenplay?
A: There were several significant differences. Time, for starters. When you're adapting a novel into a two-hour movie you can not take everything with you. The story has to get condensed to fit the new form. Then you have the question of methods best to look at a book told inside the first person and offer tense and transform it in a satisfying dramatic experience. In the novel, you don't ever leave Katniss for the second and therefore are privy to any or all of her thoughts so you may need a strategy to dramatize her inner world and to make it easy for other characters to exist outside her company. Finally, there's the challenge of how to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A great deal of the situation is acceptable on the page that would not be on the screen. But wait, how certain moments are depicted could eventually be in 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 might be currently creating so fully who's is just too challenging to take into consideration new ideas?
A: I have a couple of seeds of ideas boating inside my head but--given a whole lot of of my focus is still on The Hunger Games--it will likely be awhile before one fully emerges i can start to develop it.
Q: The Hunger Games is an annual televised event through which one boy then one girl from each from the twelve districts is forced to participate inside a fight-to-the-death on live TV. What can 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 usually unknown, which makes them relatable. Sometimes they've very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I've found very disturbing. There's also the opportunity for desensitizing the audience, to ensure that once they see real tragedy playing out on, say, the news, it does not contain the impact it should.
Q: In the event you were forced to compete within the Hunger Games, so what can you think your personal skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I used to be trained in sword-fighting, I guess my best hope would be to have hold of a rapier if there was clearly one available. But reality is I'd probably get about a four in Training.
Q: What do you hope readers can come away with whenever they read The Hunger Games trilogy?
A: Questions about how elements with the books could be relevant within their own lives. And, if they are disturbing, the things they might do about them.
Q: What were some of one's 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 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 it really is for world control. While it is a clever twist around the original plot, it indicates that there is less focus around 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 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 as well as the victim of President Snow, who uses Peeta to make an attempt to 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 helps to make 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 in addition respects the individuality and different challenges of each and every in 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.
