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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 do they think should pay to the unrest? Katniss. And what's worse, President Snow has caused it to be clear that no person else is safe 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 through the start that The Hunger Games story was intended like a trilogy. Did it genuinely end just how you planned it from your beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc from the story from gladiator game, to revolution, to war, for the eventual outcome remained constant through the writing process.
Q: We understand you worked about the initial screenplay to get a film to be based on The Hunger Games. What may be the biggest difference between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. When you are adapting a novel in to a two-hour movie you simply can't take everything with you. The story has to become condensed to fit the new form. Then there is the question of how best to take a magazine told in the first person and offer tense and transform it in to a satisfying dramatic experience. In the novel, you don't ever leave Katniss for the second and so are privy to all or any of her thoughts so you'll need a way to dramatize her inner world and to create it possible 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 great deal of the situation is acceptable on the page that would not be on a screen. But wait, how certain moments are depicted may ultimately be inside the director's hands.
Q: Are you in a posture to consider future projects while working on The Hunger Games, or are you immersed in the world you are currently creating so fully that it is simply too challenging to think about new ideas?
A: We have several seeds of ideas floating around within my head but--given that much of my focus remains on The Hunger Games--it is going to be awhile before one fully emerges and i also can commence to develop it.
Q: The Hunger Games is a yearly televised event in which one boy and something girl from each in the twelve districts is made to participate in the fight-to-the-death on live TV. What can you believe the selling point of reality television is--to both kids and adults?
A: Well, they're often setup as games and, like sporting events, there's an curiosity about seeing who wins. The contestants are generally unknown, which ensures they are relatable. Sometimes they have very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I find very disturbing. There's also the possibility for desensitizing the audience, so that whenever they see real tragedy playing out on, say, the news, it does not have the impact it should.
Q: Should you were instructed to compete in the Hunger Games, exactly what do you imagine 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 can be to have hold of an rapier if there were one available. But reality is I'd probably get in relation to its a four in Training.
Q: What do you hope readers should come away with after they read The Hunger Games trilogy?
A: Questions about how precisely elements of the books might be relevant within their own lives. And, when they are disturbing, the things they might do about them.
Q: What were some of your 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 from 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 single more Hunger Game, but this time it really is for world control. While it is really a clever twist for the original plot, it indicates that there's less focus around the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life in a less vibrant Katniss by showing her despair both at those she feels responsible for killing and at her very own 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 from the rebels and the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are very well evidenced in his voice, which goes from rage to puzzlement for an unsure go back 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 such as an outside chronicler in giving listeners just “the facts” but also respects the individuality and different challenges of each 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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