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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out in the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who can they think should pay for that unrest? Katniss. And what's worse, President Snow has caused it to be clear that no person else is safe 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 become one from the most discussed 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 the start that The Hunger Games story was intended like a trilogy. Did it really end the way you planned it from your beginning?
A: Very much so. While I didn't know every detail, of course, the arc in the story from gladiator game, to revolution, to war, on the eventual outcome remained constant through the writing process.
Q: We understand you worked on the initial screenplay for a film to become depending on The Hunger Games. What may be the biggest distinction between writing a novel and writing a screenplay?
A: There were several significant differences. Time, for starters. When you are adapting a novel into a two-hour movie you can't take everything with you. The story has to become condensed to match the brand new form. Then you have the question of methods best to consider a novel told inside first person and provides tense and transform it right into a satisfying dramatic experience. In the novel, you don't ever leave Katniss for any second and so are privy to any or all of her thoughts so you need a strategy to dramatize her inner world and to create it feasible for other characters to exist outside of her company. Finally, there is the challenge of how to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A lot of the situation is acceptable on the page that may not be on the screen. But wait, how certain moments are depicted may ultimately be inside director's hands.
Q: Do you think you're able to consider future projects while working on The Hunger Games, or are you immersed in the world you occur to be currently creating so fully that it is simply too challenging to consider new ideas?
A: I've a number of seeds of ideas floating around during my head but--given that much of my focus continues to be on The Hunger Games--it will likely be awhile before one fully emerges i can begin to develop it.
Q: The Hunger Games is a yearly televised event where one boy and something girl from each from the twelve districts is instructed to participate in 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 setup as games and, like sporting events, there's an fascination with seeing who wins. The contestants are often unknown, which makes them relatable. Sometimes they've got very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I find very disturbing. There's also the potential for desensitizing the audience, to ensure that when they see real tragedy playing out on, say, the news, it won't hold the impact it should.
Q: If you were forced to compete in the Hunger Games, what do you believe 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 have hold of a rapier if there was clearly one available. But the facts is I'd probably get in regards to a four in Training.
Q: What do you hope readers can come away with whenever they read The Hunger Games trilogy?
A: Questions about how exactly elements with the books could possibly be relevant within their own lives. And, when they are disturbing, what 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 of 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 can be for world control. While it is really a clever twist around the original plot, this means that there is certainly less focus about the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life right into a less vibrant Katniss by showing her despair both at those she feels in charge of killing and and at her very own motives and choices. This is surely 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 from the rebels as well as the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very evidenced in his voice, which goes from rage to puzzlement to an unsure come back to sweetness. McCormick also makes 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 in addition respects the individuality and unique challenges of each one of 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.
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