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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out from the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who will they think should pay for that unrest? Katniss. And what's worse, President Snow has made it clear that no person else remains safe and secure 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 from 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 like a trilogy. Did it actually end the way you planned it in the beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc from the story from gladiator game, to revolution, to war, towards the eventual outcome remained constant through the writing process.
Q: We understand you worked on the initial screenplay to get a film to get according to The Hunger Games. What will be the biggest difference between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. If you are adapting a novel in a two-hour movie you can't take everything with you. The story has to get condensed to fit the modern form. Then there is the question of how best to adopt the sunday paper told inside first person and provides tense and transform it in a satisfying dramatic experience. In the novel, you won't ever leave Katniss for a second and so are privy to any or all of her thoughts so you will need a method to dramatize her inner world and to make it possible for other characters to exist outside of her company. Finally, there is the challenge of how to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A lots of situations are acceptable on the page that may not be over a screen. But how certain moments are depicted may ultimately be inside the director's hands.
Q: Do you think that you're in a position to consider future projects while working on The Hunger Games, or are you immersed within the world you might be currently creating so fully that it is too hard to take into consideration new ideas?
A: I have a number of seeds of ideas going swimming in my head but--given a great deal of 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 once a year televised event where one boy and one girl from each from the twelve districts is expected to participate in the fight-to-the-death on live TV. What do you believe 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 curiosity about 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 delivered to tears, or suffering physically--which I find very disturbing. There's also the opportunity for desensitizing the audience, to ensure that after they see real tragedy playing out on, say, the news, it won't have the impact it should.
Q: Should you were forced to compete within the Hunger Games, so what can you believe your special skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I was trained in sword-fighting, I guess my best hope could be to obtain hold of the 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 will come away with when they read The Hunger Games trilogy?
A: Questions about how exactly elements of the books could possibly be relevant in their own lives. And, when they are disturbing, what you might do about them.
Q: What were some of one's 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 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 often a clever twist for the original plot, this means that there is less focus for the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life in a less vibrant Katniss by showing her despair both at those she feels responsible for killing and and at her very own motives and choices. This is surely an older, wiser, sadder, and intensely 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 attempt to control Katniss. Peeta's struggles are well evidenced as part of his voice, which goes from rage to puzzlement to a unsure resume sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and a whole lot of confused—very real with distinct voices and agendas/concerns. She acts as an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and different challenges of each and every of 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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