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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 do they think should pay to the unrest? Katniss. And what's worse, President Snow has caused it to be 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 be one from the most brought up books in 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 like a trilogy. Did it really end the means by which you planned it from your beginning?
A: Very much so. While I did not know every detail, of course, the arc of the story from gladiator game, to revolution, to war, for the eventual outcome remained constant throughout the writing process.
Q: We understand you worked about the initial screenplay for the film to get according to The Hunger Games. What could be the biggest distinction between writing a novel and writing a screenplay?
A: There are 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 get condensed to match the newest form. Then you have the question of how best to adopt the sunday paper told within the first person and provides tense and transform it in a satisfying dramatic experience. In the novel, you don't ever leave Katniss to get a second and so are privy to all or any of her thoughts so you will need a way to dramatize her inner world and to generate it possible for other characters to exist beyond her company. Finally, you have the challenge of how you can present the violence while still maintaining a PG-13 rating so that your core audience can view it. A lots of the situation is acceptable on a page that would not be on the screen. But exactly how certain moments are depicted could eventually be inside the director's hands.
Q: Are you currently capable of consider future projects while working on The Hunger Games, or are you immersed inside the world you might be currently creating so fully who's is just too challenging to consider new ideas?
A: We've a number of seeds of ideas boating in my head but--given a good deal of of my focus remains on The Hunger Games--it will probably be awhile before one fully emerges and I can begin to develop it.
Q: The Hunger Games is a yearly televised event in which one boy the other girl from each in the twelve districts is made to participate in a fight-to-the-death on live TV. What can you imagine the selling point 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 desire for seeing who wins. The contestants are often unknown, which makes them relatable. Sometimes they have very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I find very disturbing. There's also the possibility for desensitizing the audience, to ensure that when they see real tragedy playing out on, say, the news, this doesn't happen possess the impact it should.
Q: If you were instructed to compete within the Hunger Games, what do you think that 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 will be to get hold of the rapier if there were one available. But the truth is I'd probably get with regards to a four in Training.
Q: What does one hope readers should come away with whenever they read The Hunger Games trilogy?
A: Questions about how elements in the books might be relevant in their own lives. And, when they are disturbing, what you might do about them.
Q: What were some of your respective 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 in a single more Hunger Game, but this time around it's for world control. While it is really a clever twist for the original plot, it means that there is less focus on the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life right into a less vibrant Katniss by showing her despair both at those she feels accountable for killing and at her 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 from the rebels as well as the victim of President Snow, who uses Peeta to make an endeavor to control Katniss. Peeta's struggles are well evidenced in his voice, which goes from rage to puzzlement for an unsure go back to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and several 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 one with 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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