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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other from 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-one else remains safe and secure 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 be one of 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 like a trilogy. Did it really end the way you planned it in the beginning?
A: Very much so. While I did not know every detail, of course, the arc in the story from gladiator game, to revolution, to war, towards the eventual outcome remained constant throughout the writing process.
Q: We understand you worked around the initial screenplay to get a film to become based on The Hunger Games. What could be the biggest distinction between writing a novel and writing a screenplay?
A: There were several significant differences. Time, for starters. When you will find yourself adapting a novel into a two-hour movie you can't take everything with you. The story has to be condensed to fit the brand new form. Then you have the question of methods best to look at a novel told within the first person and provides tense and transform it in a satisfying dramatic experience. In the novel, you never leave Katniss for a second and are privy to all or any of her thoughts so you'll need a strategy to dramatize her inner world and to create it feasible for other characters to exist outside her company. Finally, there is the challenge of how you can present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A lot of things are acceptable on the page that may not be over a screen. So how certain moments are depicted may ultimately be in the director's hands.
Q: Do you think that you're in a situation to consider future projects while working on The Hunger Games, or are you immersed inside world you're currently creating so fully that it is just too difficult to consider new ideas?
A: We have several seeds of ideas boating in my head but--given much of my focus continues to be on The Hunger Games--it will probably be awhile before one fully emerges and I can start to develop it.
Q: The Hunger Games is an annual televised event where one boy the other girl from each of the twelve districts is made to participate in a fight-to-the-death on live TV. Exactly what do you believe 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 usually unknown, which ensures they are relatable. Sometimes they've got very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or taken 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, this doesn't happen have the impact it should.
Q: In case you were made to compete inside the Hunger Games, so what can you believe your 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 would be to have hold of a rapier if there is one available. But the reality is I'd probably get about a four in Training.
Q: What would you hope readers should come away with once they read The Hunger Games trilogy?
A: Questions about how exactly elements from the books could possibly be relevant within their own lives. And, when they are disturbing, what they might do about them.
Q: What were some of the favorite novels when you are 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 with 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 it's for world control. While it is really a clever twist for the original plot, it means that there's less focus for the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life in to a less vibrant Katniss by displaying despair both at those she feels in charge of killing and possibly at her motives and choices. This is definitely 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 in the rebels as well as the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very evidenced in the voice, which goes from rage to puzzlement for an unsure resume 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 just like an outside chronicler in giving listeners just “the facts” but also respects the individuality and different challenges of each one from 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.
