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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 do they think should pay for 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 to be one in 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 in the start that The Hunger Games story was intended as a trilogy. Did it actually end just how you planned it from your beginning?
A: Very much so. While I didn't know every detail, of course, the arc in 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 being 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're adapting a novel in a two-hour movie you can not take everything with you. The story has to be condensed to match the newest form. Then there's the question of methods best to take a book told in the first person and offer tense and transform it in a satisfying dramatic experience. In the novel, you never leave Katniss for the second and so are privy to all of her thoughts so you need a way to dramatize her inner world and to make it easy for other characters to exist outside her company. Finally, you have the challenge of the best way to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A large amount of things are acceptable on a page that wouldn't be on the screen. So how certain moments are depicted may ultimately be inside director's hands.
Q: Are you in a position 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 which it is simply too challenging to take into consideration new ideas?
A: We've several seeds of ideas going swimming inside my head but--given very much of my focus continues to be on The Hunger Games--it will likely be awhile before one fully emerges i can commence to develop it.
Q: The Hunger Games is once a year televised event through which one boy and one girl from each of the twelve districts is expected to participate in a fight-to-the-death on live TV. What can you imagine 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 curiosity about seeing who wins. The contestants are usually unknown, which means they are relatable. Sometimes they've very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I've found very disturbing. There's also the potential for desensitizing the audience, to ensure once they see real tragedy playing out on, say, the news, it does not have the impact it should.
Q: In case you were instructed to compete in the Hunger Games, so what can 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 will be to acquire hold of your rapier if there was one available. But the reality is I'd probably get of a four in Training.
Q: What would you hope readers should come away with whenever they read The Hunger Games trilogy?
A: Questions about how elements from the books could be relevant inside their own lives. And, if they're disturbing, the things they might do about them.
Q: What were some of one's 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 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 one more Hunger Game, but this time around it really is for world control. While it is really a clever twist about the original plot, this means that there's less focus about 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 displaying despair both at those she feels accountable for killing and at her very own motives and choices. This is definitely an older, wiser, sadder, and extremely 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 along with the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are very evidenced in his voice, which goes from rage to puzzlement for an unsure resume sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and a whole lot of confused—very real with distinct voices and agendas/concerns. She acts just like an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and different challenges of every in 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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