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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it with the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who can they think should pay for your unrest? Katniss. And what's worse, President Snow has made it clear that no person else is protected 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 with the most discussed books from 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 being a trilogy. Did it actually end the best way you planned it in the beginning?
A: Very much so. While I didn't know every detail, of course, the arc with the story from gladiator game, to revolution, to war, on the eventual outcome remained constant through the writing process.
Q: We understand you worked on the initial screenplay to get a film to become based on The Hunger Games. What will be the biggest difference between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. When you're adapting a novel right into a two-hour movie you can not take everything with you. The story has to become condensed to fit the newest form. Then you have the question of how best to consider a book told inside the first person and present 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 of her thoughts so you need a method to dramatize her inner world and to produce it possible for other characters to exist outside her company. Finally, there's the challenge of how you can present the violence while still maintaining a PG-13 rating in order 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 may ultimately be within the director's hands.
Q: Have you been able to consider future projects while working on The Hunger Games, or are you immersed in the world you get lucky and be currently creating so fully that it is too hard to take into consideration new ideas?
A: We've several seeds of ideas floating around within my head but--given that much of my focus is still on The Hunger Games--it will probably be awhile before one fully emerges i can start to develop it.
Q: The Hunger Games is a yearly televised event in which one boy and something girl from each in the twelve districts is made to participate in a very fight-to-the-death on live TV. What do you think 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 curiosity about seeing who wins. The contestants are often unknown, which means they are relatable. Sometimes they've got very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I have found very disturbing. There's also the opportunity for desensitizing the audience, in order that once they see real tragedy playing out on, say, the news, it doesn't contain the impact it should.
Q: In case you were expected to compete inside the Hunger Games, exactly what do you believe your skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I utilized to be trained in sword-fighting, I guess my best hope would be to obtain hold of your rapier if there was clearly one available. But the reality is I'd probably get with regards to a four in Training.
Q: What do you hope readers should come away with once they read The Hunger Games trilogy?
A: Questions about how exactly elements in the books could possibly be relevant within their own lives. And, if they are disturbing, what you might do about them.
Q: What were some of the 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 from 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 now it really is for world control. While it is really a clever twist about the original plot, this means that there's less focus about the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life into a less vibrant Katniss by showing her despair both at those she feels accountable for killing and and also at her own motives and choices. This is definitely an older, wiser, sadder, and incredibly 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 and the victim of President Snow, who uses Peeta to make an endeavor to control Katniss. Peeta's struggles are very evidenced in the voice, which goes from rage to puzzlement to a unsure return to sweetness. McCormick also helps to create the secondary characters—some malevolent, others benevolent, and many 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 unique challenges of each in 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.
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