Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other of the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay for that unrest? Katniss. And what's worse, President Snow has caused it to be clear that no person else remains safe and secure 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 be one in 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 in the start that The Hunger Games story was intended as a trilogy. Did it genuinely end just how you planned it from your beginning?
A: Very much so. While Some know every detail, of course, the arc with the story from gladiator game, to revolution, to war, towards the eventual outcome remained constant throughout the writing process.
Q: We understand you worked around the initial screenplay for the film to be depending 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 will find yourself adapting a novel into a two-hour movie you cannot take everything with you. The story has to get condensed to suit the modern form. Then you have the question of methods best to take the sunday paper told within the first person and offer tense and transform it in to a satisfying dramatic experience. In the novel, you won't ever leave Katniss for the second and are privy to all of her thoughts so you may need a approach to dramatize her inner world and to produce it easy for other characters to exist outside her company. Finally, there is the challenge of the way to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A large amount of situations are acceptable on the page that would not be on a screen. But wait, how certain moments are depicted could eventually be inside director's hands.
Q: Are you capable of consider future projects while working on The Hunger Games, or are you immersed in the world you might be currently creating so fully it is too hard to think about new ideas?
A: I have several seeds of ideas boating in my head but--given very much of my focus remains on The Hunger Games--it is going to be awhile before one fully emerges and that i can commence to develop it.
Q: The Hunger Games is an annual televised event in which one boy and something girl from each from the twelve districts is instructed to participate in a very fight-to-the-death on live TV. Exactly what do you think that 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 curiosity about seeing who wins. The contestants are usually unknown, which means they are relatable. Sometimes they've got very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I've found very disturbing. There's also the opportunity for desensitizing the audience, in order that whenever they see real tragedy playing out on, say, the news, it won't hold the impact it should.
Q: In the wedding you were forced to compete inside the Hunger Games, so what can you believe 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 will be to have hold of an rapier if there was one available. But the facts is I'd probably get about a four in Training.
Q: What would you hope readers can come away with once they read The Hunger Games trilogy?
A: Questions about how elements with the books may be relevant within their own lives. And, if they're disturbing, what they might do about them.
Q: What were some of your respective 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 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 a single more Hunger Game, but now it really is for world control. While it is often a clever twist on the original plot, this means that there is less focus about the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life in a less vibrant Katniss by showing her despair both at those she feels accountable for killing and possibly at her motives and choices. This is definitely 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 with the rebels and the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are well evidenced as part of his voice, which goes from rage to puzzlement to an unsure return to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and many 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 every in 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.
Mockingjay (The Final Book of The Hunger Games) [Kindle Edition]