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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out in the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who can they think should pay for the unrest? Katniss. And what's worse, President Snow has caused it to be clear that no one 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 be one in 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 through the start that The Hunger Games story was intended as a trilogy. Did it genuinely end the strategies by which you planned it from your beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc in the story from gladiator game, to revolution, to war, for the eventual outcome remained constant throughout the writing process.
Q: We understand you worked around the initial screenplay for a film being depending on The Hunger Games. What could be the biggest distinction between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. When you find yourself adapting a novel into a two-hour movie you can not take everything with you. The story has being condensed to suit the brand new form. Then you have the question of methods best to look at a magazine told in the first person and offer tense and transform it in a satisfying dramatic experience. In the novel, you never leave Katniss for a second and are privy to any or all of her thoughts so you may need a strategy to dramatize her inner world and to make it feasible for other characters to exist beyond her company. Finally, there's the challenge of the way to present the violence while still maintaining a PG-13 rating in order that your core audience can view it. A large amount of things are acceptable on a page that may not be on a screen. But exactly how certain moments are depicted could eventually be in the director's hands.
Q: Are you in a posture to consider future projects while working on The Hunger Games, or are you immersed in the world you're currently creating so fully that it is too hard to think about new ideas?
A: I've a few seeds of ideas going swimming inside 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 commence to develop it.
Q: The Hunger Games is once a year televised event through which one boy the other girl from each in 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 curiosity about seeing who wins. The contestants are often unknown, which ensures they are relatable. Sometimes they've very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I've found very disturbing. There's also the opportunity for desensitizing the audience, so that when they see real tragedy playing out on, say, the news, this doesn't happen contain the impact it should.
Q: If you were instructed to compete inside Hunger Games, what do you believe your 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 would be to obtain hold of a rapier if there was one available. But reality is I'd probably get about a four in Training.
Q: What does one hope readers will come away with whenever they read The Hunger Games trilogy?
A: Questions about how exactly elements from the books could be relevant in their own lives. And, if they're disturbing, what you 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 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 single more Hunger Game, but now it can be for world control. While it is a clever twist about the original plot, it means that there exists less focus for the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life in a less vibrant Katniss by showing her despair both at those she feels responsible for killing and possibly at her very own motives and choices. This is surely 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 as well as the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are very evidenced in the voice, which goes from rage to puzzlement to an unsure go back to 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 such as an outside chronicler in giving listeners just “the facts” but also respects the individuality and different challenges of each and every from 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.
