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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other from the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who can they think should pay for your 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 people of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to be one of the most talked about 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 best way you planned it from your beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc with the story from gladiator game, to revolution, to war, towards the eventual outcome remained constant through the writing process.
Q: We understand you worked around the initial screenplay for any film to be depending on The Hunger Games. What could be the biggest difference between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. When you're adapting a novel in to 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 how best to adopt a book told within the first person and offer tense and transform it into a satisfying dramatic experience. In the novel, you never leave Katniss for the second and are privy to any any of her thoughts so you need a strategy to dramatize her inner world and to generate it feasible for other characters to exist outside her company. Finally, there's the challenge of the simplest 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 on the page that wouldn't be over a screen. But how certain moments are depicted may ultimately be inside the director's hands.
Q: Are you currently in a position to consider future projects while working on The Hunger Games, or are you immersed within the world you might be currently creating so fully who's is too hard to consider new ideas?
A: We've a few seeds of ideas floating around during my head but--given that 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 a yearly televised event by which one boy the other girl from each from the twelve districts is instructed to participate inside a fight-to-the-death on live TV. Exactly what do you imagine 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 makes them 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 have found very disturbing. There's also the opportunity for desensitizing the audience, so that once they see real tragedy playing out on, say, the news, it does not hold the impact it should.
Q: Should you were instructed to compete in the Hunger Games, exactly what do you imagine your skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I accustomed to be trained in sword-fighting, I guess my best hope will be to acquire hold of the rapier if there was one available. But reality is I'd probably get with relation to its a four in Training.
Q: What can you hope readers can come away with whenever they read The Hunger Games trilogy?
A: Questions about how precisely elements in the books might be relevant within their own lives. And, if they're disturbing, what they might do about them.
Q: What were some of your favorite novels when you're 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 in one more Hunger Game, but now it is for world control. While it is really a clever twist for the original plot, it means that there is certainly less focus for the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life into a less vibrant Katniss by displaying despair both at those she feels accountable for killing and and also at her own motives and choices. This is an older, wiser, sadder, and incredibly 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 in the rebels and also the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are well evidenced as part of his voice, which goes from rage to puzzlement for an unsure go back to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and a great deal of confused—very real with distinct voices and agendas/concerns. She acts as an outside chronicler in giving listeners just “the facts” but also respects the individuality and unique challenges of each one of 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.
