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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 can they think should pay for the unrest? Katniss. And what's worse, President Snow has made it clear that nobody else is safe 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 become one in the most talked about books with 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 actually end the best way you planned it through the beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc from the story from gladiator game, to revolution, to war, to the eventual outcome remained constant through the writing process.
Q: We understand you worked for the initial screenplay to get a film to get according to The Hunger Games. What will be the biggest difference 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 not take everything with you. The story has to become condensed to match the brand new form. Then there is the question of methods best to consider a book told within the first person and present tense and transform it in to a satisfying dramatic experience. In the novel, you don't ever leave Katniss for the second and therefore are privy to all or any of her thoughts so you need a approach to dramatize her inner world and to create it easy for other characters to exist outside her company. Finally, you have 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 lot of things are acceptable on the page that would not be over a screen. But wait, how certain moments are depicted could eventually be in the director's hands.
Q: Are you in a position to consider future projects while working on The Hunger Games, or are you immersed within the world you're currently creating so fully which it is just too difficult to take into consideration new ideas?
A: We have a few seeds of ideas boating within my head but--given a good deal of of my focus continues to be on The Hunger Games--it is going to be awhile before one fully emerges and I can commence to develop it.
Q: The Hunger Games is once a year televised event where one boy the other girl from each in the twelve districts is instructed to participate in a very fight-to-the-death on live TV. What do you think that the benefit of reality television is--to both kids and adults?
A: Well, they're often create as games and, like sporting events, there's an interest in seeing who wins. The contestants are generally 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 have found very disturbing. There's also the possibility for desensitizing the audience, to ensure that after they see real tragedy playing out on, say, the news, it does not hold the impact it should.
Q: In case you were instructed to compete within 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 was trained in sword-fighting, I guess my best hope will be to obtain hold of your rapier if there is one available. But the reality is I'd probably get of a four in Training.
Q: What does one hope readers will come away with after they read The Hunger Games trilogy?
A: Questions about how elements in the books may be relevant in their own lives. And, if they're disturbing, what they might do about them.
Q: What were some of your respective 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 with 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 on this occasion it's for world control. While it is a clever twist on the original plot, this means that there is certainly less focus on the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life in to a less vibrant Katniss by showing her despair both at those she feels responsible for killing and and also at her motives and choices. This is surely an older, wiser, sadder, and very 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 with the rebels as well as the victim of President Snow, who uses Peeta to make an endeavor to control Katniss. Peeta's struggles are well evidenced in the voice, which goes from rage to puzzlement to a unsure come back to 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 also respects the individuality and unique challenges of each 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.
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