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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 managed to get clear that no-one else is protected 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 being one with the most mentioned 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 as a trilogy. Did it really end the way you planned it from the beginning?
A: Very much so. While I did not know every detail, of course, the arc in 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 for the initial screenplay for the film to be based on 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 right into a two-hour movie you can not take everything with you. The story has to be condensed to suit the brand new form. Then there's the question of methods best to take a magazine told inside the first person and offer tense and transform it right into a satisfying dramatic experience. In the novel, you don't ever leave Katniss for any second and are privy to all of her thoughts so you need a method to dramatize her inner world and to generate it possible for other characters to exist outside her company. Finally, there's the challenge of the easiest way 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 couldn't survive on the screen. So how certain moments are depicted will ultimately be within the director's hands.
Q: Do you believe you're able to consider future projects while working on The Hunger Games, or are you immersed within the world you're currently creating so fully it is just too hard to think about new ideas?
A: I have a couple of seeds of ideas boating within my head but--given very much of my focus remains on The Hunger Games--it will probably be awhile before one fully emerges and i also can commence to develop it.
Q: The Hunger Games is once a year televised event in which one boy and something girl from each of the twelve districts is forced to participate in a very 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 setup as games and, like sporting events, there's an interest in seeing who wins. The contestants are often unknown, which ensures they are relatable. Sometimes they've got very talented people performing. Then there is 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 when they see real tragedy playing out on, say, the news, it doesn't have the impact it should.
Q: Should you were expected to compete inside Hunger Games, exactly what do you believe your personal 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 get hold of the rapier if there was one available. But reality is I'd probably get about a four in Training.
Q: What can you hope readers will come away with once they read The Hunger Games trilogy?
A: Questions about how precisely elements in the books could possibly be relevant of 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 were 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 on this occasion it's for world control. While it is a clever twist for the original plot, this means that there is certainly less focus about 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 displaying despair both at those she feels responsible for killing and possibly at her very own motives and choices. This is 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 attempt to control Katniss. Peeta's struggles are well evidenced in the voice, which goes from rage to puzzlement to a unsure resume sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and several 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 unique challenges of each with 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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