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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 to the unrest? Katniss. And what's worse, President Snow has made it clear that no-one else is protected 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 become one of the most discussed books with the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said from your start that The Hunger Games story was intended as 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 in the story from gladiator game, to revolution, to war, for the eventual outcome remained constant throughout the writing process.

Q: We understand you worked for the initial screenplay for a film being based on The Hunger Games. What will be the biggest distinction between writing a novel and writing a screenplay?

A: There was several significant differences. Time, for starters. When you discover yourself adapting a novel in to a two-hour movie you can't take everything with you. The story has to become condensed to match the brand new form. Then you have the question of methods best to look at the sunday paper told within the first person and offer tense and transform it in to a satisfying dramatic experience. In the novel, you don't ever leave Katniss for any second and are privy to any or all of her thoughts so you'll need a strategy to dramatize her inner world and to create it possible for other characters to exist beyond her company. Finally, there's the challenge of how to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A large amount of the situation is acceptable on a page that would not be over a screen. So how certain moments are depicted may ultimately be inside director's hands.

Q: Have you been capable of consider future projects while working on The Hunger Games, or are you immersed inside the world you get lucky and be currently creating so fully who's is just too difficult to think about new ideas?

A: We have a number of seeds of ideas boating during my head but--given very much of my focus remains on The Hunger Games--it will likely be awhile before one fully emerges and i also can commence to develop it.

Q: The Hunger Games is a yearly televised event where one boy then one girl from each from the twelve districts is made to participate in a very fight-to-the-death on live TV. What can you believe the appeal 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 generally unknown, which means they are relatable. Sometimes they have very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I have found 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 does not have the impact it should.

Q: Should you were expected to compete in the Hunger Games, what can you imagine 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 would be to obtain hold of a rapier if there was clearly one available. But the facts is I'd probably get about 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 exactly elements in the books could be relevant of their own lives. And, if they are disturbing, the things they might do about them.

Q: What were some of one's 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 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 around the original plot, it indicates that there's less focus on the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life right into a less vibrant Katniss by displaying despair both at those she feels responsible for killing and and also at her very own 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 from the rebels and the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are very evidenced in his voice, which goes from rage to puzzlement to a 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 such as an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and unique challenges of every 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.






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