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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other 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 your unrest? Katniss. And what's worse, President Snow has caused it to be clear that no-one else remains safe and secure 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 to become one of the most discussed books with 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 as being a trilogy. Did it really end the best way you planned it in the beginning?
A: Very much so. While Some know every detail, of course, the arc of the story from gladiator game, to revolution, to war, on the eventual outcome remained constant throughout the writing process.
Q: We understand you worked about the initial screenplay for the film to be 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. When you are adapting a novel into a two-hour movie you can not take everything with you. The story has to get condensed to match the newest form. Then there's the question of how best to consider a magazine told within the first person and offer tense and transform it in a satisfying dramatic experience. In the novel, you don't ever leave Katniss for any second and are privy to all or any of her thoughts so you may need a way to dramatize her inner world and to produce it feasible for other characters to exist outside her company. Finally, there's the challenge of how to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A lots of the situation is acceptable on a page that couldn't survive on a screen. But wait, how certain moments are depicted will ultimately be in the director's hands.
Q: Are you currently in a situation to consider future projects while working on The Hunger Games, or are you immersed within the world you eventually be currently creating so fully which it is just too difficult to consider new ideas?
A: I have a few seeds of ideas boating during my head but--given much of my focus remains on The Hunger Games--it will likely be awhile before one fully emerges and I can commence to develop it.
Q: The Hunger Games is an annual televised event in which one boy then one girl from each in the twelve districts is instructed to participate in a fight-to-the-death on live TV. What do you think that the benefit 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 generally unknown, which means they are relatable. Sometimes they have very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I find very disturbing. There's also the potential for desensitizing the audience, so that when they see real tragedy playing out on, say, the news, it does not possess the impact it should.
Q: If you were forced to compete inside Hunger Games, exactly what do you imagine your special skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I accustomed to be trained in sword-fighting, I guess my best hope will be to get hold of the rapier if there was one available. But the facts is I'd probably get in regards to a four in Training.
Q: What can you hope readers will come away with when they read The Hunger Games trilogy?
A: Questions about how elements from the books could possibly be relevant in 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'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 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 one more Hunger Game, but this time around it's for world control. While it can be a clever twist around the original plot, it indicates that there is certainly less focus about the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life in a less vibrant Katniss by showing her despair both at those she feels accountable for killing and possibly at her very own motives and choices. This is surely 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 along with the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very 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 many confused—very real with distinct voices and agendas/concerns. She acts just like an outside chronicler in giving listeners just “the facts” but also respects the individuality and unique challenges of every in the main characters. A successful completion of the 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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