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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out of the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who can they think should pay for that unrest? Katniss. And what's worse, President Snow has made it clear that no-one else is protected 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 being 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 like a trilogy. Did it really end the best way you planned it through the beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc of the story from gladiator game, to revolution, to war, for the eventual outcome remained constant through the writing process.
Q: We understand you worked around the initial screenplay for a film to become based on The Hunger Games. What may be the biggest difference between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. When you will find yourself adapting a novel in a two-hour movie you simply can't take everything with you. The story has to become condensed to match the newest form. Then you have the question of methods best to look at a novel told inside first person and provides tense and transform it in a satisfying dramatic experience. In the novel, you don't ever leave Katniss for a second and are privy to all of her thoughts so you'll need a way to dramatize her inner world and to generate it possible for other characters to exist beyond her company. Finally, there's the challenge of the way to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A lots of situations are acceptable over a page that may not be on the screen. But how certain moments are depicted could eventually be within the director's hands.
Q: Do you believe you're in a posture to consider future projects while working on The Hunger Games, or are you immersed inside the world you are currently creating so fully who's is just too challenging to take into consideration new ideas?
A: I have a few seeds of ideas floating around inside my head but--given much of my focus remains on The Hunger Games--it is going to be awhile before one fully emerges and that i can commence to develop it.
Q: The Hunger Games is once a year televised event through which one boy and one girl from each from the twelve districts is made to participate in a fight-to-the-death on live TV. Exactly what do you believe the selling point of reality television is--to both kids and adults?
A: Well, they're often create as games and, like sporting events, there's an curiosity about seeing who wins. The contestants are generally unknown, which means they are 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 find very disturbing. There's also the possibility for desensitizing the audience, so that once they see real tragedy playing out on, say, the news, it doesn't hold the impact it should.
Q: If you were instructed to compete in the Hunger Games, exactly what do you imagine your special skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I became trained in sword-fighting, I guess my best hope can be to acquire hold of your rapier if there is one available. But reality is I'd probably get of a four in Training.
Q: What can you hope readers should come away with after they read The Hunger Games trilogy?
A: Questions about how exactly elements of the books could be relevant in their own lives. And, when they are disturbing, whatever 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 a more Hunger Game, but on this occasion it is for world control. While it can be a clever twist around the original plot, it means that there exists less focus for the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life right into a less vibrant Katniss by showing her despair both at those she feels accountable for killing and at her motives and choices. This is surely an older, wiser, sadder, and intensely 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 try and control Katniss. Peeta's struggles are very evidenced in the voice, which goes from rage to puzzlement to an unsure go back to sweetness. McCormick also helps to create the secondary characters—some malevolent, others benevolent, and several confused—very real with distinct voices and agendas/concerns. She acts like an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and different challenges of each one in the main characters. A successful completion of a 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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