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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 do they think should pay for your unrest? Katniss. And what's worse, President Snow has managed to get 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 get one in the most talked about books from the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said from the start that The Hunger Games story was intended as a trilogy. Did it actually end the way you planned it in the beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc of the story from gladiator game, to revolution, to war, for the eventual outcome remained constant through the writing process.
Q: We understand you worked about the initial screenplay to get a film to become according to 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 discover yourself adapting a novel in a two-hour movie you simply can't take everything with you. The story has to get condensed to fit the newest form. Then there's the question of methods best to consider the sunday paper told in the first person and offer tense and transform it in a satisfying dramatic experience. In the novel, you never leave Katniss for any second and are privy to all of her thoughts so you'll need a approach to dramatize her inner world and to generate it feasible for other characters to exist beyond her company. Finally, there is 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 lots of the situation is acceptable over a page that would not be over a screen. But how certain moments are depicted could eventually be within the director's hands.
Q: Do you think you're in a posture to consider future projects while working on The Hunger Games, or are you immersed inside world you might be currently creating so fully it is too hard to think about new ideas?
A: I've a few seeds of ideas going swimming within my head but--given a good deal of of my focus remains on The Hunger Games--it will probably be awhile before one fully emerges and that 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 in a fight-to-the-death on live TV. Exactly what do you imagine the appeal 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 desire for seeing who wins. The contestants are usually unknown, which means 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 find very disturbing. There's also the opportunity for desensitizing the audience, to ensure that once they see real tragedy playing out on, say, the news, it doesn't possess the impact it should.
Q: Should 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 could be to get hold of the rapier if there was clearly one available. But reality is I'd probably get with relation to a four in Training.
Q: What does one hope readers will come away with when they read The Hunger Games trilogy?
A: Questions about how precisely elements with the books could be relevant within their own lives. And, when they are disturbing, the things they might do about them.
Q: What were some of your respective favorite novels when you were 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 a single more Hunger Game, but this time around it's for world control. While it is often a clever twist for the original plot, it indicates that there's less focus on the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life right into a less vibrant Katniss by displaying despair both at those she feels accountable for killing and and also at her 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 with the rebels as well as the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are well evidenced as part of his voice, which goes from rage to puzzlement for an unsure return to sweetness. McCormick also helps to create the secondary characters—some malevolent, others benevolent, and several confused—very real with distinct voices and agendas/concerns. She acts just like an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and unique challenges of every in 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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