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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out 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 made it clear that no one 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 get one from the most talked about books of 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 being a trilogy. Did it really end the way you planned it in the beginning?
A: Very much so. While I did not know every detail, of course, the arc with the story from gladiator game, to revolution, to war, to the eventual outcome remained constant throughout the writing process.
Q: We understand you worked on the initial screenplay to get a film being depending on The Hunger Games. What is the biggest distinction between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. When you find yourself adapting a novel in to a two-hour movie you can't take everything with you. The story has to become condensed to suit the brand new form. Then there's the question of methods best to look at a magazine told in the first person and provides tense and transform it in to a satisfying dramatic experience. In the novel, you won't ever leave Katniss for the second and so are privy to any or all of her thoughts so you will need a method to dramatize her inner world and to make it feasible for other characters to exist beyond her company. Finally, there is 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 great deal of situations are acceptable on the page that wouldn't be on the screen. But exactly how certain moments are depicted will ultimately be within the director's hands.
Q: Are you capable to consider future projects while working on The Hunger Games, or are you immersed in the world you are currently creating so fully who's is simply too difficult to think about new ideas?
A: I have a couple of seeds of ideas floating around in my head but--given a whole lot of of my focus continues to be on The Hunger Games--it will likely be awhile before one fully emerges and I can begin to develop it.
Q: The Hunger Games is once a year televised event by which one boy then one girl from each with the twelve districts is instructed to participate inside a fight-to-the-death on live TV. What do you think 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 desire for seeing who wins. The contestants are generally unknown, which means they are relatable. Sometimes they've very talented people performing. Then there's 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, to ensure that after they see real tragedy playing out on, say, the news, it does not contain the impact it should.
Q: In the event you were instructed to compete inside Hunger Games, what can you think your personal skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I utilized to be trained in sword-fighting, I guess my best hope can be to get hold of a rapier if there is one available. But the truth is I'd probably get with regards to 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 precisely elements in the books might be relevant inside their own lives. And, when they are disturbing, the things they might do about them.
Q: What were some of one's 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 of 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 a single more Hunger Game, but on this occasion it really is for world control. While it is a clever twist on the original plot, this means that there is certainly less focus for the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life in to a less vibrant Katniss by displaying despair both at those she feels accountable for killing and possibly at her 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 with the rebels and also the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are very evidenced as part of his voice, which goes from rage to puzzlement to a unsure come 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 just like an outside chronicler in giving listeners just “the facts” but also respects the individuality and unique challenges of every of 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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