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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 will they think should pay for the unrest? Katniss. And what's worse, President Snow has made it clear that nobody 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 with 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 through the start that The Hunger Games story was intended like a trilogy. Did it really end the way you planned it in the beginning?

A: Very much so. While I didn't 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 writing process.

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

A: There are several significant differences. Time, for starters. When you're adapting a novel right into a two-hour movie you can not take everything with you. The story has to get condensed to match the brand new form. Then you have the question of methods best to consider the sunday paper told inside first person and present tense and transform it right into a satisfying dramatic experience. In the novel, you won't ever leave Katniss for any second and are privy to all or any of her thoughts so you will need a method to dramatize her inner world and to generate it feasible for other characters to exist outside of her company. Finally, you have 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 great deal of things are acceptable on a page that couldn't survive over a screen. But wait, how certain moments are depicted will ultimately be inside the director's hands.

Q: Do you think you're capable of consider future projects while working on The Hunger Games, or are you immersed in the world you happen to be currently creating so fully it is too hard to think about new ideas?

A: We have several seeds of ideas going swimming in my head but--given much of my focus continues to be on The Hunger Games--it will probably be awhile before one fully emerges and I can commence to develop it.

Q: The Hunger Games is a yearly televised event in which one boy the other girl from each in the twelve districts is instructed to participate in the fight-to-the-death on live TV. Exactly what do you imagine 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 interest in seeing who wins. The contestants are generally unknown, which makes them relatable. Sometimes they've very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I've found 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, so what can you think that your special skill would be?

A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I was trained in sword-fighting, I guess my best hope will be to get hold of a rapier if there was one available. But reality is I'd probably get with relation to its a four in Training.

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

A: Questions about how precisely elements from the books may be relevant inside their own lives. And, if they're disturbing, the things they might do about them.

Q: What were some of the 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 in one more Hunger Game, but this time it can be for world control. While it is really a clever twist on the original plot, this means that there exists less focus around the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life into a less vibrant Katniss by showing her despair both at those she feels accountable for killing and and also at her 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 of the rebels as well as the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are well evidenced as part of his voice, which goes from rage to puzzlement to a unsure resume 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 just like an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and different 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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