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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 your 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 folks 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 talked about 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 being a trilogy. Did it actually end the best way you planned it through the beginning?
A: Very much so. While I didn't know every detail, of course, the arc in the story from gladiator game, to revolution, to war, towards the eventual outcome remained constant throughout the writing process.
Q: We understand you worked around the initial screenplay for the film to be 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 into a two-hour movie you simply can't take everything with you. The story has to be condensed to suit the modern form. Then there is the question of how best to look at a book told inside first person and offer tense and transform it right into a satisfying dramatic experience. In the novel, you won't ever leave Katniss for the second and so are privy to all of her thoughts so you need a strategy to dramatize her inner world and to generate it easy for other characters to exist beyond her company. Finally, you have the challenge of the way to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A great deal of situations are acceptable on a page that may not be on the screen. But wait, how certain moments are depicted may ultimately be within the director's hands.
Q: Are you currently capable to consider future projects while working on The Hunger Games, or are you immersed inside world you are currently creating so fully who's is too challenging to consider new ideas?
A: We have a couple of seeds of ideas going swimming during my head but--given a good deal of of my focus is still on The Hunger Games--it will likely be awhile before one fully emerges and that i can begin to develop it.
Q: The Hunger Games is a yearly televised event in which one boy then one girl from each in the twelve districts is forced 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 create 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 very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I have found very disturbing. There's also the potential for desensitizing the audience, in order that whenever they see real tragedy playing out on, say, the news, this doesn't happen hold the impact it should.
Q: In the wedding you were expected to compete within the Hunger Games, so what can you think that your special 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 can be to have hold of a rapier if there was clearly one available. But reality is I'd probably get about a four in Training.
Q: What can you hope readers should come away with whenever they read The Hunger Games trilogy?
A: Questions about how elements with the books could possibly be relevant in their own lives. And, if they are disturbing, whatever 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 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 a single more Hunger Game, but on this occasion 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 much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life right into 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 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 from the rebels and the victim of President Snow, who uses Peeta to try and 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 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 different challenges of 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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