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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out of 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 managed to get clear that no person 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 become one with 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 from the start that The Hunger Games story was intended as being a trilogy. Did it really end the best way you planned it from the beginning?
A: Very much so. While I did not know every detail, of course, the arc in the story from gladiator game, to revolution, to war, for the eventual outcome remained constant through the writing process.
Q: We understand you worked on the initial screenplay for any film to be based on The Hunger Games. What is the biggest difference between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. When you discover yourself adapting a novel right into a two-hour movie you can not take everything with you. The story has being condensed to match the modern form. Then you have the question of how best to look at the sunday paper told within the first person and provides tense and transform it in to a satisfying dramatic experience. In the novel, you don't ever leave Katniss for any second and therefore are privy to all or any of her thoughts so you need a strategy to dramatize her inner world and to produce it possible for other characters to exist outside her company. Finally, there is the challenge of how you can 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 over a page that may not be on a screen. But how certain moments are depicted will ultimately be inside director's hands.
Q: Have you been able to consider future projects while working on The Hunger Games, or are you immersed in the world you are currently creating so fully that it is too difficult to take into consideration new ideas?
A: We've a few seeds of ideas floating around inside my head but--given very much of my focus remains on The Hunger Games--it is going to be awhile before one fully emerges and i also can commence to develop it.
Q: The Hunger Games is once a year televised event in which one boy and something girl from each from the twelve districts is instructed to participate in a very fight-to-the-death on live TV. What can 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 fascination with seeing who wins. The contestants are usually unknown, which means they are relatable. Sometimes they've very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I have found very disturbing. There's also the opportunity for desensitizing the audience, to ensure that once they see real tragedy playing out on, say, the news, it won't have the impact it should.
Q: If you were made to compete inside the Hunger Games, what do you imagine your special skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I became trained in sword-fighting, I guess my best hope can be to obtain hold of your rapier if there was one available. But the truth is I'd probably get about a four in Training.
Q: What does one hope readers can come away with after they read The Hunger Games trilogy?
A: Questions about how precisely elements from the books might be relevant inside their own lives. And, if they are disturbing, whatever they might do about them.
Q: What were some of your respective favorite novels when you had been 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 in a more Hunger Game, but now it is for world control. While it is a clever twist around the original plot, this means that there is less focus about the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life in to a less vibrant Katniss by showing her despair both at those she feels accountable for killing and at her motives and choices. This is definitely 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 along with the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are well evidenced in the voice, which goes from rage to puzzlement to an unsure come back to sweetness. McCormick also helps to make the secondary characters—some malevolent, others benevolent, and several confused—very real with distinct voices and agendas/concerns. She acts like an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and different challenges of every in the main characters. A successful completion of an 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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