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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out with 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 caused it to be clear that no-one else is safe 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 from the most talked about 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 being a trilogy. Did it genuinely end the way in which you planned it through 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, towards the eventual outcome remained constant through the entire writing process.
Q: We understand you worked on the initial screenplay for any film to become according to The Hunger Games. What could be the biggest distinction between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. When you will find yourself adapting a novel into a two-hour movie you can not take everything with you. The story has being condensed to suit the newest form. Then there is the question of how best to adopt the sunday paper told inside the first person and offer tense and transform it right into a satisfying dramatic experience. In the novel, you won't ever leave Katniss to get a second and so are privy to any or all 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 in order that your core audience can view it. A large amount of the situation is acceptable on a page that wouldn't be on the screen. But how certain moments are depicted will ultimately be inside the director's hands.
Q: Are you able to consider future projects while working on The Hunger Games, or are you immersed within the world you are currently creating so fully it is simply too challenging to think about new ideas?
A: I've several seeds of ideas floating around within my head but--given very much of my focus remains on The Hunger Games--it will likely be awhile before one fully emerges and i also can start to develop it.
Q: The Hunger Games is once a year televised event by which one boy then one girl from each from the twelve districts is made to participate inside a fight-to-the-death on live TV. What do you think that the appeal 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 fascination with 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 delivered to tears, or suffering physically--which I have found very disturbing. There's also the possibility 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: In case you were instructed to compete within the Hunger Games, exactly what do you think 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 could be to have hold of the rapier if there were one available. But the facts is I'd probably get about a four in Training.
Q: What would you hope readers will come away with once they read The Hunger Games trilogy?
A: Questions about how precisely elements of the books might be relevant in their own lives. And, if they're disturbing, what they might do about them.
Q: What were some of your respective 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 of 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 single more Hunger Game, but this time it's for world control. While it is really a clever twist around the original plot, it means that there is certainly less focus for the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life into a less vibrant Katniss by showing her despair both at those she feels accountable for killing and at her very own motives and choices. This is definitely an older, wiser, sadder, and incredibly 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 and also 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 come back to sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and many confused—very real with distinct voices and agendas/concerns. She acts as an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and different challenges of every of the main characters. A successful completion of your 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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