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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out in the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who can they think should pay for that unrest? Katniss. And what's worse, President Snow has managed to get clear that no one else is protected 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 get one from the most talked about 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 the start that The Hunger Games story was intended as being a trilogy. Did it really end the strategies by which 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, on the eventual outcome remained constant throughout the writing process.
Q: We understand you worked for the initial screenplay for a film to become depending on The Hunger Games. What is the biggest distinction between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. When you are adapting a novel right into a two-hour movie you can not take everything with you. The story has to be condensed to fit the new form. Then there is the question of how best to adopt a book told within the first person and offer tense and transform it right into a satisfying dramatic experience. In the novel, you never leave Katniss for a second and so are privy to all of her thoughts so you need a approach to dramatize her inner world and to generate it easy for other characters to exist outside of her company. Finally, you have the challenge of the way to present the violence while still maintaining a PG-13 rating in order that your core audience can view it. A lots of the situation is acceptable on a page that may not be on the screen. But exactly how certain moments are depicted will ultimately be in the director's hands.
Q: Have you been capable 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 challenging to think about new ideas?
A: I've several seeds of ideas going swimming within my head but--given very much of my focus continues to be on The Hunger Games--it is going to be awhile before one fully emerges and i also can begin to develop it.
Q: The Hunger Games is once a year televised event where one boy then one girl from each of the twelve districts is forced to participate inside a fight-to-the-death on live TV. Exactly what do you think that the benefit of reality television is--to both kids and adults?
A: Well, they're often setup 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 have very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I find 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 possess the impact it should.
Q: Should you were made to compete within the Hunger Games, exactly what do you think that 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 have hold of an rapier if there was clearly one available. But the reality is I'd probably get with relation to its a four in Training.
Q: What does one hope readers will come away with after they read The Hunger Games trilogy?
A: Questions about how elements in the books could possibly be relevant inside their own lives. And, when they are disturbing, whatever they might do about them.
Q: What were some of your 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 from 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 now it's for world control. While it can be a clever twist around the original plot, it indicates that there is less focus about the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life in to a less vibrant Katniss by displaying despair both at those she feels accountable for killing and and also at her motives and choices. This is definitely 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 from the rebels as well as the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very well evidenced in his voice, which goes from rage to puzzlement to an unsure resume sweetness. McCormick also helps to make 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 also respects the individuality and different challenges of each of 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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