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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out from the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who can 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 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 be one of the most talked about books from 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 the best way you planned it in the beginning?
A: Very much so. While Some know every detail, of course, the arc of the story from gladiator game, to revolution, to war, for the eventual outcome remained constant throughout the writing process.
Q: We understand you worked around the initial screenplay for a film being according to The Hunger Games. What will be the biggest difference between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. If you are adapting a novel right into a two-hour movie you can not take everything with you. The story has being condensed to suit the brand new form. Then there is the question of how best to consider the sunday paper told in the first person and present tense and transform it into a satisfying dramatic experience. In the novel, you don't ever leave Katniss for the second and are privy to any any of her thoughts so you need a way to dramatize her inner world and to produce it easy 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 to ensure your core audience can view it. A lots of things are acceptable on a page that wouldn't be on a screen. But how certain moments are depicted will ultimately be inside director's hands.
Q: Are you in a posture to consider future projects while working on The Hunger Games, or are you immersed inside the world you are currently creating so fully it is just too difficult to take into consideration new ideas?
A: I have a couple of seeds of ideas going swimming during my head but--given very much of my focus continues to be on The Hunger Games--it will probably be awhile before one fully emerges and that i can commence to develop it.
Q: The Hunger Games is an annual televised event by which one boy then one girl from each with the twelve districts is made to participate in the fight-to-the-death on live TV. What can you imagine the selling point of reality television is--to both kids and adults?
A: Well, they're often create as games and, like sporting events, there's an interest in seeing who wins. The contestants are usually unknown, which means they are 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 potential for desensitizing the audience, so that once they see real tragedy playing out on, say, the news, this doesn't happen have the impact it should.
Q: If you were expected to compete inside the Hunger Games, what can you think that your personal 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 can be to obtain hold of a rapier if there was clearly one available. But the truth is I'd probably get of a four in Training.
Q: What can you hope readers will come away with when they read The Hunger Games trilogy?
A: Questions about how elements in the books could be relevant inside their own lives. And, if they're disturbing, what they 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 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 in a more Hunger Game, but this time around it really is for world control. While it is a clever twist for the original plot, it indicates that there is less focus for the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life in a less vibrant Katniss by showing her despair both at those she feels in charge of killing and and also at her own motives and choices. This is 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 in the rebels as well as the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are well evidenced in his voice, which goes from rage to puzzlement for an unsure return to sweetness. McCormick also helps make 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 also respects the individuality and unique challenges of each 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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