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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it of the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay for that unrest? Katniss. And what's worse, President Snow has caused it to be clear that no-one else remains safe and secure 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 become one of 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 as a trilogy. Did it really end just how you planned it through the beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc in the story from gladiator game, to revolution, to war, towards the eventual outcome remained constant through the writing process.
Q: We understand you worked for the initial screenplay for a film to get depending on The Hunger Games. What will be the biggest distinction between writing a novel and writing a screenplay?
A: There were several significant differences. Time, for starters. When you are adapting a novel into a two-hour movie you cannot take everything with you. The story has to get condensed to match the newest form. Then there's the question of how best to consider a magazine told within the first person and present tense and transform it in a satisfying dramatic experience. In the novel, you won't ever leave Katniss to get a second and are privy to all of her thoughts so you may need a strategy to dramatize her inner world and to produce it feasible for other characters to exist beyond her company. Finally, there's the challenge of how you can present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A lots of things are acceptable on the page that may not be on a screen. But exactly how certain moments are depicted may ultimately be in the director's hands.
Q: Have you been capable of consider future projects while working on The Hunger Games, or are you immersed in the world you get lucky and be currently creating so fully who's is too difficult to take into consideration new ideas?
A: I have a few seeds of ideas going swimming during my head but--given very much of my focus continues to be on The Hunger Games--it is going to be awhile before one fully emerges and I can begin to develop it.
Q: The Hunger Games is once a year televised event in which one boy then one girl from each of the twelve districts is made to participate in the fight-to-the-death on live TV. What do you believe 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 curiosity about seeing who wins. The contestants are generally unknown, which makes them relatable. Sometimes they have very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or brought 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 possess the impact it should.
Q: If you were expected to compete inside the 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 could be to obtain hold of a 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 will come away with when they read The Hunger Games trilogy?
A: Questions about how elements of the books could be relevant within their own lives. And, if they're disturbing, whatever 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 in 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 can be for world control. While it can be a clever twist around the original plot, this means that there exists less focus around 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 displaying despair both at those she feels responsible for killing and and also at her 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 of the rebels as well as the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very evidenced as part of 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 many confused—very real with distinct voices and agendas/concerns. She acts as an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and unique challenges of 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.
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