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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out 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 your unrest? Katniss. And what's worse, President Snow has managed to get clear that nobody 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 become one of 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 through the start that The Hunger Games story was intended being a trilogy. Did it actually end the way you planned it from your 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, towards the eventual outcome remained constant throughout the writing process.
Q: We understand you worked for the initial screenplay for the film being depending on The Hunger Games. What will be the biggest distinction between writing a novel and writing a screenplay?
A: There were several significant differences. Time, for starters. When you are adapting a novel in a two-hour movie you cannot take everything with you. The story has being condensed to fit the modern form. Then there is the question of methods best to adopt a book told within the first person and offer tense and transform it in to a satisfying dramatic experience. In the novel, you never leave Katniss for the second and are privy to all or any of her thoughts so you may need a way to dramatize her inner world and to make it easy for other characters to exist outside of her company. Finally, you have the challenge of how to present the violence while still maintaining a PG-13 rating in order that your core audience can view it. A lots of situations are acceptable on the page that couldn't survive over a screen. But wait, how certain moments are depicted could eventually be inside director's hands.
Q: Are you currently capable of consider future projects while working on The Hunger Games, or are you immersed within the world you are currently creating so fully it is just too challenging to think about new ideas?
A: I've several seeds of ideas going swimming within my head but--given a great deal of of my focus continues to be on The Hunger Games--it is going to be awhile before one fully emerges i can commence to develop it.
Q: The Hunger Games is an annual televised event in which one boy then one girl from each from the twelve districts is instructed to participate in the fight-to-the-death on live TV. What do you think that the selling point of reality television is--to both kids and adults?
A: Well, they're often setup as games and, like sporting events, there's an fascination with seeing who wins. The contestants are usually unknown, which makes them relatable. Sometimes they've got very talented people performing. Then there is 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, in order that once they see real tragedy playing out on, say, the news, it does not have the impact it should.
Q: In the event you were forced to compete in the Hunger Games, exactly what do you think your personal skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I used to be trained in sword-fighting, I guess my best hope would be to get hold of the rapier if there is one available. But reality is I'd probably get in relation to a four in Training.
Q: What do you hope readers can come away with when they read The Hunger Games trilogy?
A: Questions about how precisely elements from the books could possibly be relevant inside their own lives. And, if they are disturbing, the things they might do about them.
Q: What were some of your respective 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 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 can be for world control. While it can be a clever twist around the original plot, this means that there is less focus on the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life 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 surely 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 of 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 his voice, which goes from rage to puzzlement for an unsure go back to sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and many 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 unique challenges of each one in the main characters. A successful completion of a 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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