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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 will they think should pay for that unrest? Katniss. And what's worse, President Snow has made it clear that no-one else is safe either. Not Katniss's family, not her friends, not individuals of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to be 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 in the start that The Hunger Games story was intended being a trilogy. Did it really end just how you planned it through the beginning?
A: Very much so. While Some 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 be based on The Hunger Games. What may be the biggest distinction between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. If you are adapting a novel in to a two-hour movie you can't take everything with you. The story has to get condensed to fit the newest form. Then there's the question of methods best to look at a book told in the first person and present tense and transform it in to a satisfying dramatic experience. In the novel, you won't ever leave Katniss for any second and therefore are privy to all of her thoughts so you'll need a method to dramatize her inner world and to create it feasible for other characters to exist outside her company. Finally, there's the challenge of the simplest way to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A great deal of the situation is acceptable on the page that may not be on a screen. But how certain moments are depicted could eventually be inside director's hands.
Q: Are you capable to consider future projects while working on The Hunger Games, or are you immersed within the world you occur to be currently creating so fully that it is just too hard to consider new ideas?
A: We've a couple of seeds of ideas boating within my head but--given very much of my focus remains 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 once a year televised event through which one boy the other girl from each with the twelve districts is forced 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 setup as games and, like sporting events, there's an desire for seeing who wins. The contestants are generally unknown, which ensures they are relatable. Sometimes they've very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I've found very disturbing. There's also the opportunity for desensitizing the audience, in order that whenever they see real tragedy playing out on, say, the news, it doesn't have the impact it should.
Q: If you were made to compete inside Hunger Games, exactly what do you believe 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 can be to acquire hold of a rapier if there was clearly one available. But reality is I'd probably get with regards to a four in Training.
Q: What does one hope readers will come away with whenever they read The Hunger Games trilogy?
A: Questions about how precisely elements in the books might be relevant within their own lives. And, if 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 this time around it can be for world control. While it is often a clever twist on the original plot, it indicates that there is certainly less focus for the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life in to a less vibrant Katniss by displaying despair both at those she feels accountable for killing and at her motives and choices. This is surely an older, wiser, sadder, and extremely 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 with the rebels and also the victim of President Snow, who uses Peeta to make an effort to control Katniss. Peeta's struggles are well evidenced as part of his voice, which goes from rage to puzzlement for an unsure return to sweetness. McCormick also helps to produce the secondary characters—some malevolent, others benevolent, and many confused—very real with distinct voices and agendas/concerns. She acts like an outside chronicler in giving listeners just “the facts” but also respects the individuality and different challenges of each one in 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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