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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it of the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay for your unrest? Katniss. And what's worse, President Snow has managed to get 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 to get one from the most discussed books with 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 being a trilogy. Did it actually end the best way you planned it from your beginning?
A: Very much so. While I didn't know every detail, of course, the arc from the story from gladiator game, to revolution, to war, to the eventual outcome remained constant through the entire writing process.
Q: We understand you worked around the initial screenplay to get a film to be according to The Hunger Games. What is the biggest difference between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. If you are adapting a novel in to a two-hour movie you can not take everything with you. The story has to get condensed to suit the new form. Then you have the question of how best to consider the sunday paper told in the first person and offer tense and transform it into a satisfying dramatic experience. In the novel, you don't ever leave Katniss for the second and are privy to all of her thoughts so you will need a strategy to dramatize her inner world and to generate 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 so that your core audience can view it. A great deal of situations are acceptable on a page that would not be on a screen. But how certain moments are depicted will ultimately be within the director's hands.
Q: Do you think you're capable to consider future projects while working on The Hunger Games, or are you immersed in the world you are currently creating so fully it is just too challenging to take into consideration new ideas?
A: We've a couple of seeds of ideas boating in my head but--given that much of my focus remains on The Hunger Games--it is going to be awhile before one fully emerges and that i can start to develop it.
Q: The Hunger Games is an annual televised event through which one boy and something girl from each with the twelve districts is forced to participate in the fight-to-the-death on live TV. What can you imagine the selling point 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 desire for seeing who wins. The contestants are generally unknown, which ensures they are relatable. Sometimes they have 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 potential for desensitizing the audience, in order that after they see real tragedy playing out on, say, the news, it won't possess the impact it should.
Q: If you were forced to compete inside Hunger Games, so what can you think that your 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 could be to have hold of the rapier if there was clearly one available. But reality is I'd probably get about a four in Training.
Q: What does one hope readers should come away with whenever they read The Hunger Games trilogy?
A: Questions about how exactly elements from the books might be relevant inside their own lives. And, when they are disturbing, what you might do about them.
Q: What were some of your favorite novels when you are 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 this time around it's for world control. While it can be a clever twist on the original plot, this means that there exists less focus about 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 showing her despair both at those she feels in charge of killing and possibly at her 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 from the rebels along with the victim of President Snow, who uses Peeta to make an endeavor to control Katniss. Peeta's struggles are well evidenced as part of his voice, which goes from rage to puzzlement to an unsure go back to sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and lots of confused—very real with distinct voices and agendas/concerns. She acts as an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and different challenges of each one 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.
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