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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 can they think should pay to the unrest? Katniss. And what's worse, President Snow has made it clear that no-one else is protected either. Not Katniss's family, not her friends, not individuals of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to get one of 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 being a trilogy. Did it genuinely end the way you planned it in 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, on the eventual outcome remained constant throughout the writing process.
Q: We understand you worked for the initial screenplay to get a film to get according to The Hunger Games. What could be the biggest distinction between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. When you find yourself adapting a novel right into a two-hour movie you simply can't take everything with you. The story has to get condensed to suit the modern form. Then there is the question of methods best to adopt the sunday paper told inside the first person and provides tense and transform it right into a satisfying dramatic experience. In the novel, you don't ever leave Katniss to get a second and therefore are privy to all of her thoughts so you need a method to dramatize her inner world and to create it easy for other characters to exist outside of her company. Finally, there's the challenge of the way to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A lots of situations are acceptable on the page that wouldn't be over a screen. But exactly how certain moments are depicted may ultimately be inside director's hands.
Q: Have you been in a situation to consider future projects while working on The Hunger Games, or are you immersed inside the world you're currently creating so fully it is just too difficult to think about new ideas?
A: I've several seeds of ideas going swimming in my head but--given a good deal of of my focus continues to be 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 an annual televised event by which one boy and something girl from each from the twelve districts is expected to participate in a very fight-to-the-death on live TV. What do you think that the benefit of reality television is--to both kids and adults?
A: Well, they're often setup as games and, like sporting events, there's an curiosity about seeing who wins. The contestants are usually unknown, which makes them relatable. Sometimes they've very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I find very disturbing. There's also the possibility for desensitizing the audience, to ensure that when they see real tragedy playing out on, say, the news, it doesn't hold the impact it should.
Q: If you were forced to compete in the Hunger Games, exactly what do you think that your personal 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 the rapier if there was one available. But the truth is I'd probably get with regards to a four in Training.
Q: What does one hope readers can come away with when they read The Hunger Games trilogy?
A: Questions about how exactly elements from the books might be relevant of their own lives. And, if they're disturbing, what you 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 this time it's for world control. While it is a clever twist for the original plot, it means that there exists less focus about the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life into a less vibrant Katniss by displaying despair both at those she feels responsible for killing and at her own motives and choices. This is definitely 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 try and control Katniss. Peeta's struggles are very well evidenced in the voice, which goes from rage to puzzlement to an unsure go back 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 such as an outside chronicler in giving listeners just “the facts” but also respects the individuality and different challenges of each one from the main characters. A successful completion of an 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.
