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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out of the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who can they think should pay to 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 the folks of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to be one in the most brought up 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 being a trilogy. Did it actually end the way you planned it from your beginning?
A: Very much so. While Some know every detail, of course, the arc from the story from gladiator game, to revolution, to war, towards the eventual outcome remained constant throughout the writing process.
Q: We understand you worked around the initial screenplay for the film to get according to The Hunger Games. What may be the biggest distinction between writing a novel and writing a screenplay?
A: There was several significant differences. Time, for starters. When you find yourself adapting a novel into a two-hour movie you can't take everything with you. The story has to become condensed to fit the brand new form. Then there's the question of methods best to consider the sunday paper told inside the first person and offer tense and transform it into a satisfying dramatic experience. In the novel, you won't ever leave Katniss to get a second and therefore are privy to any any of her thoughts so you may need a approach to dramatize her inner world and to make it easy for other characters to exist beyond her company. Finally, you have the challenge of the way to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A large amount of things 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: Have you been able to consider future projects while working on The Hunger Games, or are you immersed inside world you get lucky and be currently creating so fully which it is too difficult to consider new ideas?
A: I have a few seeds of ideas boating inside my head but--given much of my focus is still on The Hunger Games--it will likely be awhile before one fully emerges and i also can start to develop it.
Q: The Hunger Games is once a year televised event where one boy then one girl from each with the twelve districts is expected to participate in the fight-to-the-death on live TV. Exactly what do you imagine the appeal of reality television is--to both kids and adults?
A: Well, they're often create as games and, like sporting events, there's an curiosity about seeing who wins. The contestants are generally unknown, which ensures they are 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 opportunity for desensitizing the audience, so that after they see real tragedy playing out on, say, the news, this doesn't happen possess the impact it should.
Q: Should you were instructed to compete within the Hunger Games, what can you believe your skill would be?
A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I had been trained in sword-fighting, I guess my best hope could be to get hold of the rapier if there was clearly one available. But reality is I'd probably get about a four in Training.
Q: What do you hope readers can come away with once they read The Hunger Games trilogy?
A: Questions about how precisely elements with the books may be relevant within their own lives. And, if they are disturbing, whatever they 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 with 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 on this occasion it really is for world control. While it is a clever twist about the original plot, it means that there is certainly less focus around the individual characters plus 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 accountable for killing and and also at her 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 of the rebels and the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very well evidenced in the voice, which goes from rage to puzzlement to a 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 additionally respects the individuality and unique challenges of each and every with the main characters. A successful completion of your 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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