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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it from the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay for the 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 the folks of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to get 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 from the start that The Hunger Games story was intended as being a trilogy. Did it genuinely end the best way you planned it in the beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc of the story from gladiator game, to revolution, to war, on the eventual outcome remained constant throughout the writing process.
Q: We understand you worked around the initial screenplay for the film to get based on The Hunger Games. What may be the biggest difference between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. When you're adapting a novel in to a two-hour movie you can not take everything with you. The story has to be condensed to suit the new form. Then there's the question of methods best to consider the sunday paper told in the first person and provides tense and transform it into a satisfying dramatic experience. In the novel, you never leave Katniss for any second and therefore are privy to any or all of her thoughts so you'll need a method to dramatize her inner world and to make 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 to ensure your core audience can view it. A large amount of the situation is acceptable over a page that couldn't survive on the screen. So how certain moments are depicted could eventually be in the director's hands.
Q: Are you currently able to consider future projects while working on The Hunger Games, or are you immersed in the world you might be currently creating so fully who's is just too difficult to take into consideration new ideas?
A: I have a couple of seeds of ideas going swimming within my head but--given much of my focus remains on The Hunger Games--it is going to be awhile before one fully emerges i can start to develop it.
Q: The Hunger Games is a yearly televised event through which one boy the other girl from each from the twelve districts is made to participate in a very fight-to-the-death on live TV. What can you believe the appeal 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 usually unknown, which makes them relatable. Sometimes they've got very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I have found very disturbing. There's also the possibility for desensitizing the audience, so that when they see real tragedy playing out on, say, the news, it does not possess the impact it should.
Q: Should you were instructed to compete within the Hunger Games, what do you think that 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 will be to have hold of a rapier if there was one available. But the reality is I'd probably get of a four in Training.
Q: What do you hope readers should come away with when they read The Hunger Games trilogy?
A: Questions about how elements from 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 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 more Hunger Game, but now it's for world control. While it is really a clever twist about the original plot, this means that there is less focus on the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life in a less vibrant Katniss by displaying despair both at those she feels in charge of killing and 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 of the rebels along with the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are very evidenced as part of his voice, which goes from rage to puzzlement to an unsure return 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 just like an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and different challenges of each one from 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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