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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 can they think should pay for that unrest? Katniss. And what's worse, President Snow has managed to get clear that no person else remains safe and secure either. Not Katniss's family, not her friends, not the people 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 brought up 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 genuinely end the way in which you planned it from the beginning?
A: Very much so. While I did not know every detail, of course, the arc of the story from gladiator game, to revolution, to war, towards the eventual outcome remained constant throughout the writing process.
Q: We understand you worked around the initial screenplay for any film to be according to 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. If you are adapting a novel right into a two-hour movie you can't take everything with you. The story has to become condensed to fit the modern form. Then there is the question of methods best to look at a book told in the first person and present tense and transform it into 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 will need a approach to dramatize her inner world and to produce it possible for other characters to exist outside of her company. Finally, you have the challenge of the way to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A large amount of the situation is acceptable over a page that may not be on the screen. So how certain moments are depicted will ultimately be inside director's hands.
Q: Have you been in a situation to consider future projects while working on The Hunger Games, or are you immersed inside the world you are currently creating so fully which it is simply too challenging to take into consideration new ideas?
A: I have a few seeds of ideas floating around in my head but--given much of my focus is still on The Hunger Games--it is going to be awhile before one fully emerges i can begin to develop it.
Q: The Hunger Games is an annual televised event through which one boy then one girl from each from the twelve districts is forced to participate inside a fight-to-the-death on live TV. Exactly 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 interest in seeing who wins. The contestants are often unknown, which ensures they are 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've found very disturbing. There's also the possibility for desensitizing the audience, to ensure when they see real tragedy playing out on, say, the news, it doesn't possess the impact it should.
Q: In the event you were expected to compete inside Hunger Games, so what can you believe your 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 get hold of an rapier if there was one available. But the facts is I'd probably get about a four in Training.
Q: What would you hope readers can come away with once they read The Hunger Games trilogy?
A: Questions about how elements of the books could be relevant in their own lives. And, when they are disturbing, what you might do about them.
Q: What were some of your 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 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 on this occasion it's for world control. While it can be a clever twist for the original plot, it indicates that there exists less focus for the individual characters plus much 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 responsible for killing and possibly at her motives and choices. This is definitely 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 of the rebels as well as the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are very evidenced in the voice, which goes from rage to puzzlement to a unsure return to sweetness. McCormick also makes all the secondary characters—some malevolent, others benevolent, and several confused—very real with distinct voices and agendas/concerns. She acts just like an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and unique challenges of every in 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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