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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out of the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who will 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 individuals of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to become one from the most talked about books in the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said in the start that The Hunger Games story was intended as being a trilogy. Did it really end the strategies by which you planned it through the beginning?
A: Very much so. While Some know every detail, of course, the arc in the story from gladiator game, to revolution, to war, on the eventual outcome remained constant through the writing process.
Q: We understand you worked around the initial screenplay for any film being according to The Hunger Games. What will be the biggest difference between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. If you are adapting a novel into a two-hour movie you can not take everything with you. The story has to become condensed to fit the newest form. Then you have the question of methods best to consider the sunday paper told in the first person and present tense and transform it right into a satisfying dramatic experience. In the novel, you never leave Katniss for a second and so are privy to all or any of her thoughts so you need a strategy to dramatize her inner world and to create it easy for other characters to exist outside her company. Finally, there's the challenge of how to present the violence while still maintaining a PG-13 rating in order that your core audience can view it. A lot of situations are acceptable on the page that may not be on a screen. But exactly how certain moments are depicted could eventually be inside director's hands.
Q: Are you currently capable to consider future projects while working on The Hunger Games, or are you immersed in the world you might be currently creating so fully who's is just too challenging to think about new ideas?
A: We've a couple of seeds of ideas boating within my head but--given a ton of of my focus continues to be on The Hunger Games--it will probably be awhile before one fully emerges and that i can commence to develop it.
Q: The Hunger Games is an annual televised event where one boy then one girl from each of the twelve districts is instructed to participate inside a fight-to-the-death on live TV. What can 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 interest in seeing who wins. The contestants are usually 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 opportunity for desensitizing the audience, in order that whenever they see real tragedy playing out on, say, the news, this doesn't happen hold the impact it should.
Q: Should you were expected to compete in the Hunger Games, what do you think your special 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 can be to have hold of the rapier if there is one available. But the truth is I'd probably get in relation to a four in Training.
Q: What do you hope readers should come away with once they read The Hunger Games trilogy?
A: Questions about how elements from the books could possibly 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 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 with 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 often a clever twist about the original plot, this means that there is certainly less focus around the individual characters and much 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 responsible for killing and at her very own motives and choices. This is surely an older, wiser, sadder, and incredibly 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 as well as the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are well evidenced in his voice, which goes from rage to puzzlement to an unsure go back to sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and many confused—very real with distinct voices and agendas/concerns. She acts as an outside chronicler in giving listeners just “the facts” but also respects the individuality and unique challenges of each and every of 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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