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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out from the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay to the unrest? Katniss. And what's worse, President Snow has managed to get clear that nobody else is safe 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 be one of the most mentioned books with 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 as being a trilogy. Did it actually end the way you planned it from the beginning?
A: Very much so. While I did not know every detail, of course, the arc from the story from gladiator game, to revolution, to war, towards the eventual outcome remained constant throughout the writing process.
Q: We understand you worked for the initial screenplay for any film being based on The Hunger Games. What may be the biggest distinction between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. When you're adapting a novel into a two-hour movie you simply can't take everything with you. The story has to be condensed to fit the brand new form. Then there's the question of how best to consider a book told in the first person and offer tense and transform it right into a satisfying dramatic experience. In the novel, you never leave Katniss for the second and so are privy to all or any of her thoughts so you need a way to dramatize her inner world and to produce it feasible for other characters to exist outside her company. Finally, there's the challenge of the simplest way to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A lots of the situation is acceptable on a page that wouldn't be over a screen. But wait, how certain moments are depicted may ultimately be inside the director's hands.
Q: Are you currently capable of consider future projects while working on The Hunger Games, or are you immersed inside world you're currently creating so fully it is simply too difficult to take into consideration new ideas?
A: We've a couple of seeds of ideas boating during 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 I can start to develop it.
Q: The Hunger Games is a yearly televised event in which one boy and one girl from each from the twelve districts is expected to participate inside a fight-to-the-death on live TV. What do you think that the selling point of reality television is--to both kids and adults?
A: Well, they're often setup as games and, like sporting events, there's an fascination with seeing who wins. The contestants are generally unknown, which makes them relatable. Sometimes they've 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, to ensure that whenever they see real tragedy playing out on, say, the news, it does not hold the impact it should.
Q: If you were expected to compete inside the Hunger Games, so what can you think your special 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 acquire hold of an rapier if there was one available. But the reality is I'd probably get in regards to a four in Training.
Q: What would you hope readers will come away with after they read The Hunger Games trilogy?
A: Questions about how exactly elements in the books may be relevant within their own lives. And, if they're disturbing, whatever they 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 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 single more Hunger Game, but now it can be for world control. While it is really a clever twist around the original plot, it means that there is less focus for the individual characters and much 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 accountable for killing and and at her own 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 in the rebels as well as 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 an 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 like an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and unique challenges of each and every from 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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