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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 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 be one with the most talked about books of 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 being a trilogy. Did it actually end the best way you planned it in the 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 entire writing process.
Q: We understand you worked for the initial screenplay for the film to become according to The Hunger Games. What is 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 be condensed to fit the modern form. Then you have the question of how best to adopt a book told inside the first person and provides tense and transform it in a satisfying dramatic experience. In the novel, you don't ever leave Katniss for any second and therefore are privy to all of her thoughts so you will need a way to dramatize her inner world and to produce it possible for other characters to exist outside 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 lot of situations are acceptable over a page that may not be on a screen. But how certain moments are depicted could eventually be within the director's hands.
Q: Have you been capable to consider future projects while working on The Hunger Games, or are you immersed inside world you might be currently creating so fully who's is just too hard to think about new ideas?
A: We've a couple of seeds of ideas floating around during my head but--given very much of my focus is still on The Hunger Games--it will probably be awhile before one fully emerges and that i can start to develop it.
Q: The Hunger Games is once a year televised event through which one boy and one girl from each of the twelve districts is expected to participate in the fight-to-the-death on live TV. Exactly what do you think 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 curiosity about seeing who wins. The contestants are generally unknown, which means they are relatable. Sometimes they've very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I've found very disturbing. There's also the potential for desensitizing the audience, so that after they see real tragedy playing out on, say, the news, it doesn't hold the impact it should.
Q: Should you were made to compete within the Hunger Games, exactly 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 would be to acquire hold of your rapier if there is one available. But the reality is I'd probably get in relation to its a four in Training.
Q: What does one hope readers will come away with whenever they read The Hunger Games trilogy?
A: Questions about how precisely elements with the books may be relevant of their own lives. And, when they are disturbing, what they might do about them.
Q: What were some of the 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 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 a single more Hunger Game, but now it really is for world control. While it is a clever twist for the original plot, it indicates that there is less focus on the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life in a less vibrant Katniss by displaying despair both at those she feels responsible for killing and possibly at her very own motives and choices. This is 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 with 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 come back to sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and many confused—very real with distinct voices and agendas/concerns. She acts like an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and different challenges of each one with the main characters. A successful completion of a 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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