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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out with the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who will they think should pay to the unrest? Katniss. And what's worse, President Snow has made it clear that no person else is protected 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 in the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said through the start that The Hunger Games story was intended as a trilogy. Did it really end the strategies by which you planned it from your 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, for the eventual outcome remained constant through the writing process.
Q: We understand you worked around the initial screenplay for a film to be based on The Hunger Games. What may be the biggest difference between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. When you're adapting a novel in to a two-hour movie you simply can't take everything with you. The story has to be condensed to fit the newest form. Then there's the question of methods best to consider a novel told within the first person and offer tense and transform it into a satisfying dramatic experience. In the novel, you won't ever leave Katniss to get a second and are privy to all of her thoughts so you will need a strategy to dramatize her inner world and to make it feasible for other characters to exist outside of her company. Finally, you have the challenge of the way to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A lot of situations are acceptable on the page that would not be on a screen. So how certain moments are depicted could eventually be inside director's hands.
Q: Are you in a position to consider future projects while working on The Hunger Games, or are you immersed inside the world you might be currently creating so fully it is just too difficult to think about new ideas?
A: We've a couple of seeds of ideas boating in my head but--given that much of my focus continues to be on The Hunger Games--it will probably be awhile before one fully emerges and i also can begin to develop it.
Q: The Hunger Games is once a year televised event by which one boy then one girl from each in the twelve districts is forced to participate in the fight-to-the-death on live TV. What can you think that the selling point of reality television is--to both kids and adults?
A: Well, they're often create as games and, like sporting events, there's an interest in seeing who wins. The contestants are often unknown, which means they are relatable. Sometimes they have very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I have found 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 have the impact it should.
Q: In the wedding you were made to compete in the Hunger Games, what can you imagine your special skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I became trained in sword-fighting, I guess my best hope could be to have hold of your rapier if there were one available. But the truth is I'd probably get with relation to its a four in Training.
Q: What would you hope readers should come away with whenever they read The Hunger Games trilogy?
A: Questions about how precisely elements in the books could be relevant inside their own lives. And, when they are disturbing, what they might do about them.
Q: What were some of one's 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 a single more Hunger Game, but this time around it is for world control. While it is really a clever twist for 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 will continue to breathe life in to a less vibrant Katniss by showing her despair both at those she feels responsible for killing and possibly at her motives and choices. This is definitely an older, wiser, sadder, and incredibly 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 as well as the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are very well evidenced in the voice, which goes from rage to puzzlement for an unsure resume 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 like an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and unique challenges of each with 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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