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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out with the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who will they think should pay for the unrest? Katniss. And what's worse, President Snow has caused it to be clear that nobody else is safe 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 being one of the most brought up books from 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 the strategies by which you planned it through the beginning?
A: Very much so. While Some know every detail, of course, the arc from the story from gladiator game, to revolution, to war, on the eventual outcome remained constant through the entire writing process.
Q: We understand you worked around the initial screenplay for any film being depending on The Hunger Games. What may be the biggest distinction between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. When you will find yourself adapting a novel in a two-hour movie you cannot take everything with you. The story has to become condensed to fit the brand new form. Then there is the question of how best to adopt a magazine told inside first person and present tense and transform it in a satisfying dramatic experience. In the novel, you never leave Katniss to get a second and are privy to any or all of her thoughts so you'll need a method to dramatize her inner world and to create it feasible for other characters to exist outside her company. Finally, there is the challenge of the simplest way to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A great deal of the situation is acceptable on a page that would not be over a screen. But exactly how certain moments are depicted may ultimately be inside director's hands.
Q: Are you currently in a posture to consider future projects while working on The Hunger Games, or are you immersed inside the world you are currently creating so fully it is too difficult to take into consideration new ideas?
A: We've a number of seeds of ideas going swimming within my head but--given much of my focus is still on The Hunger Games--it is going to be awhile before one fully emerges and i also can begin to develop it.
Q: The Hunger Games is once a year televised event by which one boy the other girl from each from the twelve districts is expected to participate in a fight-to-the-death on live TV. Exactly what do you think that the appeal 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 usually unknown, which ensures they are 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've found very disturbing. There's also the opportunity for desensitizing the audience, so that when they see real tragedy playing out on, say, the news, it does not possess the impact it should.
Q: Should you were forced to compete within the 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 had been trained in sword-fighting, I guess my best hope would be to have hold of an rapier if there was clearly one available. But the truth is I'd probably get about a four in Training.
Q: What can you hope readers can come away with when they read The Hunger Games trilogy?
A: Questions about how precisely elements of the books could possibly be relevant within their own lives. And, if they are disturbing, whatever they might do about them.
Q: What were some of your respective 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 this time it really is for world control. While it is a clever twist about the original plot, this means that there exists less focus around the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life into a less vibrant Katniss by showing her despair both at those she feels responsible for killing and at her 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 in the rebels and also the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are well evidenced as part of his voice, which goes from rage to puzzlement to a unsure return to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and a lot of confused—very real with distinct voices and agendas/concerns. She acts like an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and different challenges of each one with 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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