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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 do they think should pay to the 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 to be one from 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 genuinely end just how you planned it from the beginning?
A: Very much so. While I did not know every detail, of course, the arc in the story from gladiator game, to revolution, to war, for the eventual outcome remained constant through the writing process.
Q: We understand you worked for the initial screenplay for a film being depending on The Hunger Games. What is the biggest difference between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. When you're adapting a novel in a two-hour movie you can't take everything with you. The story has to get condensed to match the newest form. Then you have the question of how best to consider a novel told in the first person and provides tense and transform it into a satisfying dramatic experience. In the novel, you never leave Katniss to get a second and therefore are privy to any or all of her thoughts so you may need a approach to dramatize her inner world and to generate it easy for other characters to exist outside of her company. Finally, there is the challenge of the way to present the violence while still maintaining a PG-13 rating in order that your core audience can view it. A lot of the situation is acceptable on the page that couldn't survive on the screen. But how certain moments are depicted will ultimately be inside director's hands.
Q: Are you able to consider future projects while working on The Hunger Games, or are you immersed in the world you might be currently creating so fully which it is just too difficult to consider new ideas?
A: I've several seeds of ideas going swimming in my head but--given much of my focus continues to be on The Hunger Games--it will probably be awhile before one fully emerges and that i can start to develop it.
Q: The Hunger Games is once a year televised event in which one boy and something girl from each from the twelve districts is expected to participate in a fight-to-the-death on live TV. Exactly what do you believe the appeal of reality television is--to both kids and adults?
A: Well, they're often create as games and, like sporting events, there's an fascination with seeing who wins. The contestants are often unknown, which ensures they are relatable. Sometimes they've got very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I find very disturbing. There's also the opportunity for desensitizing the audience, to ensure that after they see real tragedy playing out on, say, the news, it does not have the impact it should.
Q: In the wedding you were made to compete inside 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 had been trained in sword-fighting, I guess my best hope can be to have hold of your rapier if there was one available. But reality is I'd probably get with regards to a four in Training.
Q: What can you hope readers can come away with once they read The Hunger Games trilogy?
A: Questions about how exactly elements with the books could possibly be relevant within their own lives. And, if they're disturbing, the things they might do about them.
Q: What were some of your respective 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 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 really is for world control. While it can be a clever twist for the original plot, this means that there's less focus about the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life in a less vibrant Katniss by showing her despair both at those she feels accountable for killing and and at her motives and choices. This is definitely 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 of the rebels as well as the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are well evidenced in the voice, which goes from rage to puzzlement for an unsure come back to sweetness. McCormick also helps to create the secondary characters—some malevolent, others benevolent, and a whole lot of confused—very real with distinct voices and agendas/concerns. She acts just like an outside chronicler in giving listeners just “the facts” but also respects the individuality and different challenges of each and every 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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