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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other of 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 caused it to be 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 to become one from 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 in the start that The Hunger Games story was intended being a trilogy. Did it actually end the way you planned it in the beginning?
A: Very much so. While I didn't know every detail, of course, the arc in the story from gladiator game, to revolution, to war, to the eventual outcome remained constant through the writing process.
Q: We understand you worked around the initial screenplay for the film to become based on The Hunger Games. What is the biggest distinction between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. If you are adapting a novel into a two-hour movie you cannot take everything with you. The story has to get condensed to fit the modern form. Then there is the question of methods best to take a magazine told in the first person and provides tense and transform it into a satisfying dramatic experience. In the novel, you never leave Katniss for any second and so are privy to any any of her thoughts so you will need a strategy to dramatize her inner world and to produce it possible for other characters to exist outside her company. Finally, there is the challenge of how to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A lot of things are acceptable on the page that would not be over a screen. So how certain moments are depicted may ultimately be inside director's hands.
Q: Have you been capable to consider future projects while working on The Hunger Games, or are you immersed within the world you are currently creating so fully who's is simply too hard to think about new ideas?
A: We have a couple of seeds of ideas floating around inside my head but--given much of my focus is still on The Hunger Games--it will probably be awhile before one fully emerges and I can commence to develop it.
Q: The Hunger Games is once a year televised event where one boy and something girl from each of the twelve districts is forced to participate in a fight-to-the-death on live TV. What can you think that 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 have very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I have found very disturbing. There's also the opportunity for desensitizing the audience, in order that whenever they see real tragedy playing out on, say, the news, it won't contain the impact it should.
Q: In case you were instructed to compete within the Hunger Games, exactly what do you think your special skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I was trained in sword-fighting, I guess my best hope could be to acquire hold of an rapier if there was clearly one available. But the reality is I'd probably get of a four in Training.
Q: What do you hope readers should come away with whenever they read The Hunger Games trilogy?
A: Questions about how exactly elements with the books may be relevant within their own lives. And, if they are disturbing, whatever they might do about them.
Q: What were some of your favorite novels when you had been 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 with 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 around it can be for world control. While it is a clever twist about the original plot, it means that there's less focus on the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life in a less vibrant Katniss by displaying despair both at those she feels in charge of killing and and also at her 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 of the rebels and also the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are very evidenced in his voice, which goes from rage to puzzlement to an unsure return 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 as an outside chronicler in giving listeners just “the facts” but also respects the individuality and unique challenges of each and every with the main characters. A successful completion of a 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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