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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other of the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay for that unrest? Katniss. And what's worse, President Snow has caused it to be clear that no person else is protected 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 be one from the most brought up 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 being a trilogy. Did it really end just how you planned it from your beginning?
A: Very much so. While I didnrrrt know every detail, of course, the arc with the story from gladiator game, to revolution, to war, for the eventual outcome remained constant throughout the writing process.
Q: We understand you worked about the initial screenplay for a film being according to The Hunger Games. What may be the biggest difference between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. When you discover yourself adapting a novel in a two-hour movie you simply can't take everything with you. The story has being condensed to fit the modern form. Then there is the question of methods best to take a book told within the first person and offer tense and transform it into a satisfying dramatic experience. In the novel, you never leave Katniss to get a second and therefore are privy to all or any of her thoughts so you need a strategy to dramatize her inner world and to produce it easy for other characters to exist outside of her company. Finally, there's the challenge of the best way to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A lot of situations are acceptable on the page that wouldn't be on the screen. So how certain moments are depicted could eventually be within the director's hands.
Q: Are you capable to consider future projects while working on The Hunger Games, or are you immersed in the world you're currently creating so fully that it is too difficult to take into consideration new ideas?
A: We've a couple of seeds of ideas going swimming within my head but--given that much of my focus continues to be on The Hunger Games--it will probably be awhile before one fully emerges i can commence to develop it.
Q: The Hunger Games is a yearly televised event by which one boy and something girl from each in the twelve districts is forced to participate in a 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 set up as games and, like sporting events, there's an curiosity about seeing who wins. The contestants are usually unknown, which means they are relatable. Sometimes they've very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I have found very disturbing. There's also the possibility for desensitizing the audience, so that once they see real tragedy playing out on, say, the news, this doesn't happen have the impact it should.
Q: Should you were made to compete inside Hunger Games, so what can you imagine 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 have hold of the rapier if there is one available. But the reality is I'd probably get of a four in Training.
Q: What would you hope readers can come away with once they read The Hunger Games trilogy?
A: Questions about how precisely elements with the books could possibly be relevant of their own lives. And, when they are disturbing, what you might do about them.
Q: What were some of one's 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 one more Hunger Game, but on this occasion it is for world control. While it is often a clever twist for the original plot, this means that there exists less focus about the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life 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 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 in the rebels as well as the victim of President Snow, who uses Peeta to make an effort to control Katniss. Peeta's struggles are very evidenced as part of his voice, which goes from rage to puzzlement for an unsure go back to sweetness. McCormick also helps to 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 in addition respects the individuality and unique 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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