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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out of the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who will they think should pay for that 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 the folks of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to become 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 in the start that The Hunger Games story was intended as a trilogy. Did it really end the strategies by which you planned it from 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, to the eventual outcome remained constant through the writing process.
Q: We understand you worked for the initial screenplay for a film being based on The Hunger Games. What is the biggest difference between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. When you're adapting a novel right into a two-hour movie you cannot take everything with you. The story has to become condensed to suit the newest form. Then there's the question of methods best to look at a novel told inside the first person and present tense and transform it into a satisfying dramatic experience. In the novel, you won't ever leave Katniss to get a second and so are privy to all or any of her thoughts so you may need a method to dramatize her inner world and to make it easy for other characters to exist beyond her company. Finally, there is the challenge of how you can present the violence while still maintaining a PG-13 rating so that your core audience can view it. A large amount of the situation is acceptable on the page that wouldn't be over a screen. But how certain moments are depicted may ultimately be within the director's hands.
Q: Have you been in a position to consider future projects while working on The Hunger Games, or are you immersed inside world you're currently creating so fully who's is too challenging to think about new ideas?
A: We have a couple of seeds of ideas going swimming in my head but--given much of my focus remains on The Hunger Games--it is going to be awhile before one fully emerges and that i can begin to develop it.
Q: The Hunger Games is a yearly televised event by which one boy then one girl from each from the twelve districts is instructed to participate in a very fight-to-the-death on live TV. What do you think that 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 often unknown, which ensures they are relatable. Sometimes they have very talented people performing. Then there is 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, to ensure that after they see real tragedy playing out on, say, the news, it won't hold the impact it should.
Q: If you were made to compete inside Hunger Games, what do you think that your 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 obtain hold of an rapier if there was 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 exactly elements in the books could be relevant within their own lives. And, when they are disturbing, what you might do about them.
Q: What were some of one's favorite novels when you are 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 on this occasion it's for world control. While it is a clever twist about the original plot, it indicates that there is certainly 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 right into a less vibrant Katniss by showing her despair both at those she feels responsible for killing and and at her very own motives and choices. This is an older, wiser, sadder, and intensely 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 and also 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 for an unsure come back to sweetness. McCormick also helps to produce the secondary characters—some malevolent, others benevolent, and lots of confused—very real with distinct voices and agendas/concerns. She acts such as an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and unique challenges of each and every 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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