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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out from the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who will they think should pay for your unrest? Katniss. And what's worse, President Snow has made it clear that no-one else is safe 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 get one in the most brought up 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 as a trilogy. Did it really end just how you planned it in the beginning?
A: Very much so. While I didn't know every detail, of course, the arc with the story from gladiator game, to revolution, to war, on the eventual outcome remained constant throughout the writing process.
Q: We understand you worked around the initial screenplay for a film being according to The Hunger Games. What is the biggest difference between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. If you are adapting a novel in to a two-hour movie you cannot take everything with you. The story has being condensed to fit the brand new form. Then there's the question of how best to look at a magazine told inside first person and offer tense and transform it in to a satisfying dramatic experience. In the novel, you never leave Katniss to get a second and are privy to all of her thoughts so you may need a way to dramatize her inner world and to produce it easy for other characters to exist outside of her company. Finally, you have the challenge of the easiest way to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A lots of things are acceptable on a page that wouldn't be on a screen. But how certain moments are depicted will ultimately be within the director's hands.
Q: Are you able to consider future projects while working on The Hunger Games, or are you immersed in the world you're currently creating so fully that it is simply too challenging to take into consideration new ideas?
A: I have a few seeds of ideas boating in my head but--given very much of my focus continues to be on The Hunger Games--it is going to be awhile before one fully emerges and i also can begin to develop it.
Q: The Hunger Games is an annual televised event by which one boy the other girl from each with the twelve districts is expected to participate in the fight-to-the-death on live TV. What can 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 interest in seeing who wins. The contestants are generally unknown, which makes them relatable. Sometimes they've got very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I find very disturbing. There's also the potential for desensitizing the audience, to ensure once they see real tragedy playing out on, say, the news, it won't possess the impact it should.
Q: In case you were instructed to compete inside the Hunger Games, so what can you think 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 the rapier if there was clearly one available. But the truth is I'd probably get of a four in Training.
Q: What would you hope readers can come away with after they read The Hunger Games trilogy?
A: Questions about how precisely elements from the books could be relevant in their own lives. And, if they're disturbing, whatever they 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 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 more Hunger Game, but this time around it can be for world control. While it is really a clever twist for the original plot, it means that there's less focus about the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life into a less vibrant Katniss by showing her despair both at those she feels accountable for killing and and at her very own motives and choices. This is surely 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 in the rebels and the victim of President Snow, who uses Peeta to make an endeavor to 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 make the secondary characters—some malevolent, others benevolent, and lots of confused—very real with distinct voices and agendas/concerns. She acts like an outside chronicler in giving listeners just “the facts” but also 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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