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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out with the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who can they think should pay for your unrest? Katniss. And what's worse, President Snow has managed to get clear that nobody else is protected 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 in 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 through the start that The Hunger Games story was intended as being a trilogy. Did it actually end just how you planned it from the beginning?
A: Very much so. While Some know every detail, of course, the arc of the story from gladiator game, to revolution, to war, towards the eventual outcome remained constant through the entire writing process.
Q: We understand you worked on the initial screenplay to get a film to get based on The Hunger Games. What will be the biggest difference between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. If you are adapting a novel in to a two-hour movie you cannot take everything with you. The story has being condensed to match the brand new form. Then you have the question of how best to adopt a book told inside the first person and present tense and transform it right into a satisfying dramatic experience. In the novel, you won't ever leave Katniss for any second and are privy to all of her thoughts so you'll need a approach to dramatize her inner world and to produce it easy for other characters to exist outside of her company. Finally, there's the challenge of the way to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A lot of the situation is acceptable over a page that wouldn't be on a screen. But wait, how certain moments are depicted could eventually be in the director's hands.
Q: Have you been capable to consider future projects while working on The Hunger Games, or are you immersed inside world you might be currently creating so fully which it is too hard to take into consideration new ideas?
A: We've a few seeds of ideas boating inside my head but--given a ton of of my focus is still on The Hunger Games--it will likely be awhile before one fully emerges i can start to develop it.
Q: The Hunger Games is an annual televised event where one boy the other girl from each with the twelve districts is expected to participate in the fight-to-the-death on live TV. Exactly what do you believe 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 usually unknown, which makes them relatable. Sometimes they've very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I find very disturbing. There's also the opportunity for desensitizing the audience, so that once they see real tragedy playing out on, say, the news, this doesn't happen have the impact it should.
Q: If you were forced to compete inside 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 became trained in sword-fighting, I guess my best hope could be to acquire hold of a rapier if there was one available. But reality is I'd probably get of a four in Training.
Q: What does one hope readers will come away with once they read The Hunger Games trilogy?
A: Questions about how exactly elements with the books might be relevant in their own lives. And, if they're disturbing, what you might do about them.
Q: What were some of your respective 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 from 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 a clever twist around the original plot, this means that there is certainly less focus on the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life into a less vibrant Katniss by displaying despair both at those she feels accountable for killing and and at her very own motives and choices. This is 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 with the rebels along with the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are very well evidenced as part of his voice, which goes from rage to puzzlement to a unsure resume sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and lots 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 each of 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.
