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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 can they think should pay for your 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 individuals of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to get one of the most talked about books from 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 being a trilogy. Did it really end the way in which you planned it through the 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 entire writing process.
Q: We understand you worked about the initial screenplay to get a film being depending on The Hunger Games. What could be the biggest difference between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. When you are adapting a novel in to a two-hour movie you simply can't take everything with you. The story has to be condensed to suit the modern form. Then there is the question of how best to look at a magazine told inside first person and present tense and transform it in a satisfying dramatic experience. In the novel, you never leave Katniss to get a second and are privy to any any of her thoughts so you'll need a way to dramatize her inner world and to generate it easy for other characters to exist outside of her company. Finally, you have the challenge of the way to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A lots of situations are acceptable on the page that would not be on a screen. But wait, how certain moments are depicted will ultimately be inside director's hands.
Q: Are you in a situation to consider future projects while working on The Hunger Games, or are you immersed in the world you occur to be currently creating so fully who's is too challenging to think about new ideas?
A: I have several seeds of ideas going swimming inside my head but--given that much of my focus remains on The Hunger Games--it will likely be awhile before one fully emerges i can begin to develop it.
Q: The Hunger Games is once a year televised event by which one boy the other girl from each with the twelve districts is made to participate in a very fight-to-the-death on live TV. What can you think the benefit of reality television is--to both kids and adults?
A: Well, they're often setup as games and, like sporting events, there's an interest in seeing who wins. The contestants are generally unknown, which ensures they are relatable. Sometimes they've got very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I find very disturbing. There's also the potential for desensitizing the audience, in order that after they see real tragedy playing out on, say, the news, it doesn't contain the impact it should.
Q: If you were instructed to compete inside the Hunger Games, what can you think that your special 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 could be to acquire hold of an rapier if there was clearly one available. But the truth is I'd probably get in relation to its a four in Training.
Q: What do you hope readers can come away with when they read The Hunger Games trilogy?
A: Questions about how exactly elements of the books might be relevant inside their own lives. And, if they are disturbing, whatever they might do about them.
Q: What were some of the 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 from 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 it is for world control. While it can be a clever twist for the original plot, this means that there is less focus for the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life into a less vibrant Katniss by displaying despair both at those she feels responsible for killing and at her own motives and choices. This is 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 and also the victim of President Snow, who uses Peeta to make an attempt to control Katniss. Peeta's struggles are very well evidenced in the voice, which goes from rage to puzzlement for an unsure resume sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and many 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.
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