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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 will they think should pay for the unrest? Katniss. And what's worse, President Snow has managed to get clear that no-one else remains safe and secure either. Not Katniss's family, not her friends, not individuals of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to be one from 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 in the start that The Hunger Games story was intended as a trilogy. Did it really end the way you planned it through the beginning?
A: Very much so. While I didn't know every detail, of course, the arc of 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 any film being based on The Hunger Games. What may be the biggest distinction between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. If you are adapting a novel in a two-hour movie you can't take everything with you. The story has being condensed to suit the newest form. Then you have the question of how best to consider the sunday paper told inside first person and offer tense and transform it in to a satisfying dramatic experience. In the novel, you don't ever leave Katniss for a second and are privy to any or all of her thoughts so you'll need a way to dramatize her inner world and to generate it easy for other characters to exist beyond her company. Finally, there is the challenge of how to present the violence while still maintaining a PG-13 rating in order that your core audience can view it. A lot of the situation is acceptable on a page that wouldn't be over a screen. So how certain moments are depicted will ultimately be in the director's hands.
Q: Do you think that you're capable of consider future projects while working on The Hunger Games, or are you immersed within the world you happen to be currently creating so fully who's is simply too challenging to think about new ideas?
A: I've a couple of seeds of ideas floating around during my head but--given much of my focus is still on The Hunger Games--it will probably be awhile before one fully emerges and that i can begin to develop it.
Q: The Hunger Games is once a year televised event through which one boy and one girl from each in the twelve districts is forced to participate in a fight-to-the-death on live TV. Exactly what do you think 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 fascination with seeing who wins. The contestants are generally unknown, which ensures they are relatable. Sometimes they've very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I've found very disturbing. There's also the possibility for desensitizing the audience, in order that after they see real tragedy playing out on, say, the news, it doesn't contain the impact it should.
Q: In case you were instructed to compete inside the Hunger Games, what can you think that your personal 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 would be to get hold of your rapier if there were 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 precisely elements in the books might be relevant of their own lives. And, if they're disturbing, what they might do about them.
Q: What were some of one's 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 a single more Hunger Game, but this time around it's for world control. While it can be a clever twist about the original plot, this means that there is less focus for the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life into a less vibrant Katniss by showing her despair both at those she feels accountable for killing and possibly at her very own motives and choices. This is surely an older, wiser, sadder, and very 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 along with the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are well 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 several 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 one from 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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