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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out 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 managed to get clear that nobody 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 with 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 actually end the best way you planned it from the beginning?
A: Very much so. While I did not know every detail, of course, the arc from the story from gladiator game, to revolution, to war, to the eventual outcome remained constant throughout the writing process.
Q: We understand you worked on the initial screenplay to get a film to be according to The Hunger Games. What is the biggest distinction between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. When you find yourself adapting a novel in to a two-hour movie you simply can't take everything with you. The story has to get condensed to suit the modern form. Then there's the question of methods best to take a novel told inside the first person and present tense and transform it in a satisfying dramatic experience. In the novel, you never leave Katniss for any second and are privy to all of her thoughts so you need a approach to dramatize her inner world and to create it feasible for other characters to exist outside of her company. Finally, you have the challenge of how 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 couldn't survive on a screen. But wait, how certain moments are depicted may ultimately be inside the director's hands.
Q: Are you currently able to consider future projects while working on The Hunger Games, or are you immersed inside world you're currently creating so fully it is simply too difficult to think about new ideas?
A: I've a few seeds of ideas going swimming within my head but--given a whole lot of of my focus is still on The Hunger Games--it is going to be awhile before one fully emerges and i also can start to develop it.
Q: The Hunger Games is an annual 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 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 makes them relatable. Sometimes they have very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I've found very disturbing. There's also the opportunity for desensitizing the audience, to ensure after they see real tragedy playing out on, say, the news, it doesn't possess the impact it should.
Q: In case you were made to compete in the Hunger Games, what do you think that your personal skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I was trained in sword-fighting, I guess my best hope can be to have hold of the rapier if there were one available. But the truth is I'd probably get about 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 elements from the books may be relevant of their own lives. And, when they are disturbing, whatever 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 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 a single more Hunger Game, but this time around it really is for world control. While it is really a clever twist on the original plot, it means that there is less focus for 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 responsible for killing and and at her 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 of the rebels and also 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 lots of 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 different challenges of every in 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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