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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other of the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who will they think should pay for that unrest? Katniss. And what's worse, President Snow has made it clear that no person 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 from the most mentioned books with 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 as being a trilogy. Did it genuinely end just how you planned it from the beginning?
A: Very much so. While I didn't know every detail, of course, the arc of the story from gladiator game, to revolution, to war, on the eventual outcome remained constant throughout the writing process.
Q: We understand you worked on the initial screenplay to get a film being based on The Hunger Games. What will be the biggest distinction between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. When you find yourself adapting a novel into a two-hour movie you can not take everything with you. The story has to be condensed to suit the new form. Then there is the question of methods best to adopt a book told inside the first person and offer tense and transform it right into a satisfying dramatic experience. In the novel, you never leave Katniss for any second and are privy to any or all of her thoughts so you will need a method to dramatize her inner world and to create it possible for other characters to exist outside her company. Finally, there is the challenge of how to present the violence while still maintaining a PG-13 rating in order that your core audience can view it. A lots of situations are acceptable over a page that would not be on a screen. But how certain moments are depicted could eventually be inside director's hands.
Q: Are you currently in a position to consider future projects while working on The Hunger Games, or are you immersed within the world you are currently creating so fully it is too hard to consider new ideas?
A: I've a few seeds of ideas boating during my head but--given much of my focus continues to be on The Hunger Games--it will probably be awhile before one fully emerges i can start to develop it.
Q: The Hunger Games is an annual televised event by which one boy and one girl from each with the twelve districts is instructed to participate inside a fight-to-the-death on live TV. What can you imagine 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 fascination with seeing who wins. The contestants are often unknown, which makes them relatable. Sometimes they've got very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I've found very disturbing. There's also the potential for desensitizing the audience, to ensure whenever they see real tragedy playing out on, say, the news, it does not have the impact it should.
Q: In case you were expected to compete inside Hunger Games, what can you believe your personal 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 obtain hold of the rapier if there was one available. But reality is I'd probably get with relation to a four in Training.
Q: What would you hope readers can come away with after they read The Hunger Games trilogy?
A: Questions about how precisely elements with the books might be relevant of their own lives. And, when they are disturbing, what you might do about them.
Q: What were some of your respective favorite novels when you were 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 a single more Hunger Game, but this time around it can be for world control. While it is a clever twist on the original plot, it indicates that there is less focus for the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life in to a less vibrant Katniss by displaying despair both at those she feels in charge of killing and and at her own motives and choices. This is 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 and also the victim of President Snow, who uses Peeta to attempt 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 to produce the secondary characters—some malevolent, others benevolent, and a lot of confused—very real with distinct voices and agendas/concerns. She acts as an outside chronicler in giving listeners just “the facts” but also respects the individuality and unique challenges of each and every of the main characters. A successful completion of an 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.
