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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out from the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay to the unrest? Katniss. And what's worse, President Snow has managed to get clear that no person else is protected 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 get one with the most mentioned books of 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 as a trilogy. Did it genuinely end the best way you planned it in the beginning?
A: Very much so. While Some know every detail, of course, the arc in the story from gladiator game, to revolution, to war, towards the eventual outcome remained constant through the entire writing process.
Q: We understand you worked around the initial screenplay for the film being according to The Hunger Games. What could be the biggest difference between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. When you discover yourself adapting a novel in to a two-hour movie you can't take everything with you. The story has to get condensed to match the modern form. Then you have the question of methods best to consider the sunday paper told inside the first person and provides tense and transform it in to a satisfying dramatic experience. In the novel, you won't ever leave Katniss for any second and are privy to any or all of her thoughts so you'll need a method to dramatize her inner world and to create it feasible for other characters to exist outside of her company. Finally, there's the challenge of the easiest way to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A lot of things are acceptable over a page that couldn't survive on the screen. But exactly how certain moments are depicted could eventually 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 in the world you are currently creating so fully which it is simply too challenging to consider new ideas?
A: I've a couple of seeds of ideas going swimming in my head but--given that much of my focus remains on The Hunger Games--it will probably be awhile before one fully emerges i can start to develop it.
Q: The Hunger Games is a yearly televised event in which one boy and something girl from each of the twelve districts is instructed to participate in a fight-to-the-death on live TV. Exactly what do you imagine the appeal of reality television is--to both kids and adults?
A: Well, they're often create as games and, like sporting events, there's an desire for seeing who wins. The contestants are generally unknown, which ensures they are relatable. Sometimes they've got very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I've found very disturbing. There's also the potential for desensitizing the audience, to ensure that once they see real tragedy playing out on, say, the news, it won't hold the impact it should.
Q: In case you were made to compete inside Hunger Games, exactly what do you imagine 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 can be to get hold of an rapier if there were one available. But reality is I'd probably get about a four in Training.
Q: What would you hope readers will come away with when they read The Hunger Games trilogy?
A: Questions about how precisely elements with the books could possibly be relevant within their own lives. And, if they are disturbing, what you might do about them.
Q: What were some of one's favorite novels when you had been 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 around it is for world control. While it is often a clever twist for the original plot, this means that there is less focus about the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life into a less vibrant Katniss by showing her despair both at those she feels accountable for killing and possibly at her own motives and choices. This is definitely an older, wiser, sadder, and extremely 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 the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very well evidenced in his voice, which goes from rage to puzzlement to an unsure go back to sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and many confused—very real with distinct voices and agendas/concerns. She acts just like an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and unique challenges of every with 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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