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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other of 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 caused it to be clear that no person else is safe 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 being one from 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 the start that The Hunger Games story was intended as a trilogy. Did it really end the way you planned it from the beginning?
A: Very much so. While I didn't know every detail, of course, the arc with the story from gladiator game, to revolution, to war, for the eventual outcome remained constant through the writing process.
Q: We understand you worked about the initial screenplay for any film to be based on The Hunger Games. What could be the biggest difference between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. When you are adapting a novel in a two-hour movie you can't take everything with you. The story has being condensed to match the newest form. Then you have the question of methods best to look at a magazine told within the first person and present tense and transform it in a satisfying dramatic experience. In the novel, you won't ever leave Katniss to get a second and therefore are privy to all of her thoughts so you'll need a approach to dramatize her inner world and to create it feasible for other characters to exist beyond her company. Finally, you have the challenge of how to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A large amount of things are acceptable on a page that couldn't survive over a screen. But wait, how certain moments are depicted could eventually be inside the director's hands.
Q: Do you believe you're capable to consider future projects while working on The Hunger Games, or are you immersed inside the world you occur to be currently creating so fully which it is just too hard to think about new ideas?
A: We have a number of seeds of ideas boating inside my head but--given a good deal of of my focus continues to be on The Hunger Games--it will probably be awhile before one fully emerges and I can begin to develop it.
Q: The Hunger Games is an annual televised event where one boy and something girl from each of the twelve districts is forced 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 interest in seeing who wins. The contestants are often unknown, which makes them relatable. Sometimes they have very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I've found very disturbing. There's also the possibility for desensitizing the audience, to ensure whenever they see real tragedy playing out on, say, the news, it doesn't possess the impact it should.
Q: Should you were expected to compete inside Hunger Games, what can you believe your special skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I had been trained in sword-fighting, I guess my best hope will be to acquire hold of a rapier if there was one available. But the facts is I'd probably get of a four in Training.
Q: What would you hope readers can come away with when they read The Hunger Games trilogy?
A: Questions about how precisely elements with the books may be relevant of their own lives. And, if they're disturbing, the things they might do about them.
Q: What were some of your respective favorite novels when you're 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 a single more Hunger Game, but this time it really is for world control. While it is a clever twist on the original plot, it means that there is less focus about 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 displaying despair both at those she feels responsible for killing and and at her very own motives and choices. This is 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 of the rebels as well as the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are well evidenced in his voice, which goes from rage to puzzlement to an unsure return to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and lots 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 unique challenges of every with 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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