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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out from the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay for the unrest? Katniss. And what's worse, President Snow has made it clear that no-one else remains safe and secure 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 to get one in 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 the start that The Hunger Games story was intended being a trilogy. Did it really end just how you planned it from 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 entire writing process.
Q: We understand you worked around the initial screenplay for a film to be based 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 find yourself adapting a novel right into a two-hour movie you simply can't take everything with you. The story has being condensed to suit the modern form. Then there is the question of how best to take a novel told inside the first person and present tense and transform it right into a satisfying dramatic experience. In the novel, you never leave Katniss for the second and so are privy to all of her thoughts so you'll need a strategy to dramatize her inner world and to generate it feasible for other characters to exist beyond her company. Finally, you have the challenge of the way 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 a page that wouldn't be on a screen. But how certain moments are depicted could eventually be within the director's hands.
Q: Do you think that you're 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 it is just too difficult to think about new ideas?
A: I've a number of seeds of ideas going swimming in my head but--given that much of my focus remains on The Hunger Games--it is going to be awhile before one fully emerges and i also can start to develop it.
Q: The Hunger Games is a yearly televised event where one boy and something girl from each from the twelve districts is instructed to participate in the fight-to-the-death on live TV. Exactly what do you imagine 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 desire for seeing who wins. The contestants are usually unknown, which ensures they are relatable. Sometimes they have 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, in order that when they see real tragedy playing out on, say, the news, this doesn't happen have the impact it should.
Q: Should you were made to compete inside the Hunger Games, what do you imagine your special 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 would be to have hold of a rapier if there was clearly one available. But reality is I'd probably get in relation to its a four in Training.
Q: What would you hope readers should come away with once they read The Hunger Games trilogy?
A: Questions about how precisely elements from the books might be relevant in their own lives. And, when they are disturbing, the things they might do about them.
Q: What were some of your favorite novels when you're 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 this time around it is for world control. While it is really a clever twist on the original plot, this means that there's less focus around the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life in to a less vibrant Katniss by showing her despair both at those she feels in charge of killing and and at her very own motives and choices. This is definitely an older, wiser, sadder, and incredibly 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 in the rebels as well as the victim of President Snow, who uses Peeta to make an endeavor to control Katniss. Peeta's struggles are very well evidenced in his voice, which goes from rage to puzzlement for an unsure return to 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 such as an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and unique challenges of each one 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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