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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other in 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 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 become one in the most discussed 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 from your beginning?
A: Very much so. While I didn't know every detail, of course, the arc with the story from gladiator game, to revolution, to war, to the eventual outcome remained constant through the entire writing process.
Q: We understand you worked on the initial screenplay for any film to become according to The Hunger Games. What is 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 into a two-hour movie you can not take everything with you. The story has to get condensed to fit the newest form. Then you have the question of how best to take a novel told inside the first person and offer tense and transform it in to a satisfying dramatic experience. In the novel, you don't ever leave Katniss to get a second and therefore are privy to any any of her thoughts so you will need a way to dramatize her inner world and to make it easy for other characters to exist outside her company. Finally, there's the challenge of how you can present the violence while still maintaining a PG-13 rating in order that your core audience can view it. A large amount of things are acceptable over a page that would not be over a screen. So how certain moments are depicted may ultimately be inside the director's hands.
Q: Are you currently able to consider future projects while working on The Hunger Games, or are you immersed in the world you might be currently creating so fully it is just too difficult to think about new ideas?
A: I have a number of seeds of ideas floating around within 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 also can commence to develop it.
Q: The Hunger Games is once a year televised event where one boy and one girl from each from the twelve districts is made to participate in a very fight-to-the-death on live TV. What do you think that 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 fascination with 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 brought to tears, or suffering physically--which I find very disturbing. There's also the potential for desensitizing the audience, so that once they see real tragedy playing out on, say, the news, it doesn't possess the impact it should.
Q: Should you were forced to compete inside Hunger Games, what can you think that your skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I used to be trained in sword-fighting, I guess my best hope will be to have hold of a rapier if there is one available. But the reality is I'd probably get with regards 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 exactly elements in the books may be relevant of their own lives. And, when they are disturbing, the things they might do about them.
Q: What were some of the 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 single more Hunger Game, but now it can be for world control. While it is really a clever twist about 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 to a less vibrant Katniss by displaying despair both at those she feels in charge of killing and and at her motives and choices. This is surely 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 with 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 come back to sweetness. McCormick also helps to create the secondary characters—some malevolent, others benevolent, and lots of confused—very real with distinct voices and agendas/concerns. She acts such as an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and unique challenges of each in 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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