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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it in 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 caused it to be clear that no person else remains safe and secure either. Not Katniss's family, not her friends, not the people of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises being one from the most mentioned books in the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said from your start that The Hunger Games story was intended being a trilogy. Did it actually end the way in which you planned it through 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, on the eventual outcome remained constant throughout the writing process.
Q: We understand you worked on the initial screenplay for the film to get according to The Hunger Games. What is the biggest difference between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. When you are adapting a novel in a two-hour movie you can not take everything with you. The story has to get condensed to match the modern form. Then there's the question of how best to look at a novel told inside the first person and offer tense and transform it in to a satisfying dramatic experience. In the novel, you never leave Katniss for any second and are privy to all or any of her thoughts so you need a approach to dramatize her inner world and to produce it easy for other characters to exist outside of her company. Finally, there is the challenge of the way to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A great deal of things are acceptable on a page that may not be on the screen. But exactly how certain moments are depicted could eventually be inside the director's hands.
Q: Are you currently in a position to consider future projects while working on The Hunger Games, or are you immersed inside world you get lucky and be currently creating so fully who's is just too challenging to consider new ideas?
A: We've several seeds of ideas floating around inside my head but--given very much of my focus is still 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 by which one boy and something girl from each with the twelve districts is made 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 set up as games and, like sporting events, there's an fascination with seeing who wins. The contestants are generally unknown, which means they are relatable. Sometimes they have very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I have found very disturbing. There's also the potential for desensitizing the audience, to ensure after they see real tragedy playing out on, say, the news, it does not possess the impact it should.
Q: In case you were expected 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 had been trained in sword-fighting, I guess my best hope can be to obtain hold of a rapier if there was clearly one available. But the truth is I'd probably get of a four in Training.
Q: What would you hope readers will come away with whenever they read The Hunger Games trilogy?
A: Questions about how elements with the books could be relevant in their own lives. And, when they are disturbing, what 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 in a more Hunger Game, but this time it's for world control. While it is a clever twist around the original plot, it indicates that there's less focus around the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life right into a less vibrant Katniss by displaying 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 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 and the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are very well evidenced in the voice, which goes from rage to puzzlement for an unsure come back to sweetness. McCormick also makes all 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 in addition respects the individuality and unique 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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