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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it 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 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 become 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 from your start that The Hunger Games story was intended as being a trilogy. Did it really end just how you planned it in the beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc from the story from gladiator game, to revolution, to war, on the eventual outcome remained constant throughout the 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 were several significant differences. Time, for starters. When you're adapting a novel in to a two-hour movie you can not take everything with you. The story has to be condensed to fit the modern form. Then there's the question of how best to adopt a novel told within the first person and provides tense and transform it into a satisfying dramatic experience. In the novel, you don't ever leave Katniss to get a second and are privy to any or all of her thoughts so you'll need a approach 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 the way to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A lots of situations are acceptable on a page that wouldn't be over a screen. But exactly how certain moments are depicted could eventually be within the director's hands.
Q: Do you imagine you're capable of consider future projects while working on The Hunger Games, or are you immersed inside the world you occur to be currently creating so fully it is too challenging to consider new ideas?
A: I have a number of seeds of ideas boating during my head but--given a great deal of of my focus remains on The Hunger Games--it will likely be awhile before one fully emerges and i also can begin to develop it.
Q: The Hunger Games is once a year televised event by which one boy the other girl from each in the twelve districts is made to participate inside a fight-to-the-death on live TV. What can you imagine 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 curiosity about seeing who wins. The contestants are usually unknown, which makes them relatable. Sometimes they've got very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I've found very disturbing. There's also the possibility for desensitizing the audience, in order that whenever they see real tragedy playing out on, say, the news, this doesn't happen hold the impact it should.
Q: In case you were expected to compete within the Hunger Games, exactly what do you think 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 could be to acquire hold of an rapier if there was clearly 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 whenever they read The Hunger Games trilogy?
A: Questions about how exactly elements in the books could be relevant within their own lives. And, when they are 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 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 on this occasion it's for world control. While it is really a clever twist for the original plot, this means that there is less focus on the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life right into a less vibrant Katniss by showing her despair both at those she feels responsible for killing and possibly at her own motives and choices. This is surely 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 with the rebels as well as the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very evidenced in his voice, which goes from rage to puzzlement for an unsure resume sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and a lot of 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 unique challenges of each and every with 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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