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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 can they think should pay for 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 the people 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 discussed 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 your start that The Hunger Games story was intended being a trilogy. Did it really end just how you planned it in the beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc from the story from gladiator game, to revolution, to war, to the eventual outcome remained constant through the entire writing process.
Q: We understand you worked on the initial screenplay for a film being depending on The Hunger Games. What could be the biggest difference between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. When you discover yourself adapting a novel into a two-hour movie you can't take everything with you. The story has to get condensed to suit the new form. Then you have the question of how best to look at a book told inside first person and offer tense and transform it into a satisfying dramatic experience. In the novel, you don't ever leave Katniss for the second and therefore are privy to any or all of her thoughts so you'll need a way to dramatize her inner world and to produce it easy for other characters to exist outside of her company. Finally, there is the challenge of the easiest way to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A lots of situations are acceptable on the page that would not be on a screen. But how certain moments are depicted will ultimately be inside 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 eventually be currently creating so fully it is just too hard to take into consideration new ideas?
A: I have a few seeds of ideas going swimming in my head but--given much of my focus is still 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 once a year televised event where one boy the other girl from each from the twelve districts is made to participate in a fight-to-the-death on live TV. Exactly what do you imagine the selling point 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 ensures they are relatable. Sometimes they've very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I've found very disturbing. There's also the potential for desensitizing the audience, so 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 made to compete inside 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 could be to acquire hold of your rapier if there was one available. But the facts is I'd probably get of a four in Training.
Q: What can you hope readers will come away with when they read The Hunger Games trilogy?
A: Questions about how exactly elements from the books could possibly be relevant within their own lives. And, if they're disturbing, what you might do about them.
Q: What were some of the 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 single more Hunger Game, but now it is for world control. While it is often a clever twist for the original plot, this means that there exists less focus on the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life in to 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 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 of the rebels and also the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are well evidenced in the voice, which goes from rage to puzzlement to an unsure go back to sweetness. McCormick also makes all the secondary characters—some malevolent, others benevolent, and several confused—very real with distinct voices and agendas/concerns. She acts as an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and unique challenges of each and 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.
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