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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 do they think should pay for your 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 folks of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises being one with the most discussed 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 like a trilogy. Did it actually end the means by which you planned it from 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 writing process.
Q: We understand you worked on the initial screenplay to get a film to become based on The Hunger Games. What will be the biggest difference between writing a novel and writing a screenplay?
A: There were several significant differences. Time, for starters. If you are adapting a novel right into a two-hour movie you can't take everything with you. The story has to become condensed to fit the modern form. Then there's the question of methods best to adopt the sunday paper told in 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 are privy to all of her thoughts so you will need a strategy to dramatize her inner world and to generate it possible for other characters to exist beyond 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 exactly how certain moments are depicted will ultimately be in the director's hands.
Q: Have you been capable of consider future projects while working on The Hunger Games, or are you immersed within the world you might be currently creating so fully who's is too challenging to think about new ideas?
A: I've a number of seeds of ideas floating around in my head but--given that much of my focus remains on The Hunger Games--it will probably be awhile before one fully emerges and i also can begin to develop it.
Q: The Hunger Games is once a year televised event where one boy then one girl from each of the twelve districts is expected to participate in a fight-to-the-death on live TV. Exactly what do you think 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 desire for seeing who wins. The contestants are often unknown, which makes them relatable. Sometimes they've got 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, in order that when they see real tragedy playing out on, say, the news, it won't possess the impact it should.
Q: If you were forced to compete inside Hunger Games, what can you imagine your skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I utilized to be trained in sword-fighting, I guess my best hope could be to obtain hold of a rapier if there is one available. But the facts is I'd probably get of a four in Training.
Q: What can you hope readers should come away with once they read The Hunger Games trilogy?
A: Questions about how exactly elements of the books may be relevant within their own lives. And, if they are disturbing, what you might do about them.
Q: What were some of your respective favorite novels when you had been 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 a more Hunger Game, but this time it can be for world control. While it can be a clever twist around the original plot, it means that there is certainly less focus around the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life right into a less vibrant Katniss by showing her despair both at those she feels accountable for killing and at her own motives and choices. This is an older, wiser, sadder, and extremely 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 and the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very evidenced as part of his voice, which goes from rage to puzzlement for an unsure come back 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 like an outside chronicler in giving listeners just “the facts” but also respects the individuality and unique challenges of each of 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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