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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out of 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 made it 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 being one in the most discussed books with the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said from your start that The Hunger Games story was intended being a trilogy. Did it actually end the way in which you planned it from the beginning?
A: Very much so. While Some know every detail, of course, the arc from the story from gladiator game, to revolution, to war, to the eventual outcome remained constant through the writing process.
Q: We understand you worked around the initial screenplay for the film to be according to The Hunger Games. What could be the biggest distinction between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. When you're adapting a novel in a two-hour movie you cannot take everything with you. The story has to be condensed to fit the modern form. Then there's the question of methods best to take 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 the second and so are privy to any any of her thoughts so you'll need a method to dramatize her inner world and to create it possible for other characters to exist outside of her company. Finally, there's the challenge of the best way to present the violence while still maintaining a PG-13 rating in order that your core audience can view it. A lot of situations are acceptable over a page that would not be over a screen. But wait, how certain moments are depicted will ultimately be inside director's hands.
Q: Are you currently in a position to consider future projects while working on The Hunger Games, or are you immersed inside the world you occur to be currently creating so fully that it is simply too challenging to consider new ideas?
A: I've a few seeds of ideas floating around within my head but--given much 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 through which one boy then one girl from each from the twelve districts is instructed to participate in a fight-to-the-death on live TV. What can you think the benefit 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 means 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, so that once they see real tragedy playing out on, say, the news, it does not possess the impact it should.
Q: In case you were made to compete inside Hunger Games, what can you think that your skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I was trained in sword-fighting, I guess my best hope will be to acquire hold of a rapier if there is one available. But the reality is I'd probably get of a four in Training.
Q: What can you 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 inside their own lives. And, if they are disturbing, the things they might do about them.
Q: What were some of your 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 in 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 one more Hunger Game, but on this occasion it's for world control. While it can be a clever twist around the original plot, it means that there is certainly less focus on the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life in to a less vibrant Katniss by displaying 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 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 make an endeavor to control Katniss. Peeta's struggles are well evidenced in the voice, which goes from rage to puzzlement to an 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 different challenges of each and every of 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.
