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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made 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 the unrest? Katniss. And what's worse, President Snow has made it clear that nobody 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 talked about books from 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 actually end just how you planned it from the beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc of 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 for any film to be based on The Hunger Games. What is the biggest difference between writing a novel and writing a screenplay?
A: There have been several significant differences. Time, for starters. If you are adapting a novel in to a two-hour movie you cannot take everything with you. The story has to get condensed to fit the new form. Then there's the question of how best to consider a magazine told inside first person and present tense and transform it into a satisfying dramatic experience. In the novel, you don't ever leave Katniss for any second and therefore are privy to any or all of her thoughts so you will need a way to dramatize her inner world and to create it feasible for other characters to exist beyond her company. Finally, there is 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 great deal of the situation is acceptable on the page that wouldn't be over a screen. So how certain moments are depicted will ultimately be inside director's hands.
Q: Are you currently in a situation to consider future projects while working on The Hunger Games, or are you immersed inside world you are currently creating so fully that it is simply too challenging to consider new ideas?
A: I have several seeds of ideas boating inside my head but--given that much of my focus continues to be on The Hunger Games--it is going to be awhile before one fully emerges i can commence to develop it.
Q: The Hunger Games is once a year televised event by which one boy the other girl from each of the twelve districts is expected to participate in the fight-to-the-death on live TV. What do you think the selling point of reality television is--to both kids and adults?
A: Well, they're often setup as games and, like sporting events, there's an curiosity about 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 find very disturbing. There's also the possibility for desensitizing the audience, so that after they see real tragedy playing out on, say, the news, it doesn't have the impact it should.
Q: In the event you were instructed to compete inside Hunger Games, exactly what do you believe your 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 would be to get hold of an rapier if there is one available. But the reality is I'd probably get in relation to a four in Training.
Q: What do you hope readers should come away with after they read The Hunger Games trilogy?
A: Questions about how precisely elements from the books may be relevant within their own lives. And, when they are disturbing, the things 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 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 single more Hunger Game, but on this occasion it really is for world control. While it is often a clever twist about the original plot, this means that there is certainly less focus for 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 displaying despair both at those she feels accountable for killing and at her very 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 and also the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are very evidenced as part of his voice, which goes from rage to puzzlement to a unsure go back to sweetness. McCormick also helps to produce 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 additionally respects the individuality and different challenges of every in 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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