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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other with the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who can they think should pay to the unrest? Katniss. And what's worse, President Snow has managed to get clear that nobody 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 to become one of the most discussed books of the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said from the start that The Hunger Games story was intended like a trilogy. Did it genuinely end the strategies by which you planned it in the beginning?
A: Very much so. While I did not know every detail, of course, the arc from the story from gladiator game, to revolution, to war, towards the eventual outcome remained constant through the entire writing process.
Q: We understand you worked about the initial screenplay for the film to become depending on The Hunger Games. What could be the biggest distinction between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. If you are adapting a novel into a two-hour movie you simply can't take everything with you. The story has to be condensed to suit the new form. Then you have the question of methods best to adopt a book told inside first person and provides tense and transform it in a satisfying dramatic experience. In the novel, you don't ever leave Katniss for the second and so are privy to any or all of her thoughts so you'll need a method to dramatize her inner world and to create it easy for other characters to exist beyond her company. Finally, there is the challenge of the way to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A lots of situations are acceptable on a page that may not be on the screen. So how certain moments are depicted may ultimately be inside the director's hands.
Q: Have you been capable to consider future projects while working on The Hunger Games, or are you immersed within the world you occur to be currently creating so fully that it is just too challenging to take into consideration new ideas?
A: We have a few seeds of ideas floating around during my head but--given a good deal of of my focus continues to be on The Hunger Games--it will probably be awhile before one fully emerges i can begin to develop it.
Q: The Hunger Games is once a year televised event by which one boy and something girl from each with the twelve districts is forced to participate in a very fight-to-the-death on live TV. Exactly what do you think 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 desire for seeing who wins. The contestants are often unknown, which makes them relatable. Sometimes they have very talented people performing. Then there's 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, in order that after they see real tragedy playing out on, say, the news, it does not possess the impact it should.
Q: In case you were made to compete inside the Hunger Games, what do you believe your personal 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 would be to have hold of the rapier if there is one available. But reality is I'd probably get with relation to its a four in Training.
Q: What do you hope readers will come away with whenever they read The Hunger Games trilogy?
A: Questions about how elements with the books may be relevant inside their own lives. And, if they're disturbing, what they might do about them.
Q: What were some of your favorite novels when you're 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 one more Hunger Game, but on this occasion it's for world control. While it can be a clever twist around the original plot, it means that there exists less focus around the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life in a less vibrant Katniss by showing her despair both at those she feels accountable for killing and and also at her very own 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 from the rebels and also the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are very well evidenced as part of his voice, which goes from rage to puzzlement for an unsure return to sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and a great deal 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 with the main characters. A successful completion of the 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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