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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 will they think should pay for the unrest? Katniss. And what's worse, President Snow has made it clear that no-one else remains safe and secure 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 in the most discussed books of the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said in the start that The Hunger Games story was intended like a trilogy. Did it genuinely end just how you planned it through the beginning?

A: Very much so. While I did not know every detail, of course, the arc from the story from gladiator game, to revolution, to war, on the eventual outcome remained constant through the entire writing process.

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

A: There was several significant differences. Time, for starters. When you're adapting a novel into a two-hour movie you can't take everything with you. The story has to become condensed to suit 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 a satisfying dramatic experience. In the novel, you never leave Katniss to get a second and so are privy to all of her thoughts so you may need a approach to dramatize her inner world and to create it easy for other characters to exist outside her company. Finally, you have the challenge of the simplest way to present the violence while still maintaining a PG-13 rating in order that your core audience can view it. A lot of things are acceptable over a page that may not be over a screen. But wait, how certain moments are depicted could eventually be in the director's hands.

Q: Have you been able to consider future projects while working on The Hunger Games, or are you immersed inside world you might be currently creating so fully that it is just too hard to consider new ideas?

A: I've several seeds of ideas floating around inside my head but--given that 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 once a year televised event through which one boy the other girl from each of the twelve districts is expected to participate inside a fight-to-the-death on live TV. What do you believe the selling point of reality television is--to both kids and adults?

A: Well, they're often set up as games and, like sporting events, there's an desire for 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 delivered 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 doesn't contain the impact it should.

Q: Should you were forced to compete inside the Hunger Games, exactly what do you believe your 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 would be to get hold of your rapier if there was one available. But the truth is I'd probably get with relation to its a four in Training.

Q: What do you hope readers should come away with once they read The Hunger Games trilogy?

A: Questions about how exactly elements with the books may be relevant within their own lives. And, if they are disturbing, whatever 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 it really is for world control. While it is a clever twist on the original plot, it means that there is certainly 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 in to 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 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 from the rebels as well as the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are well evidenced in the voice, which goes from rage to puzzlement for an unsure resume sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and a lot of confused—very real with distinct voices and agendas/concerns. She acts just like an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and unique challenges of each and every from 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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