![Mockingjay (The Final Book of The Hunger Games) [Kindle Edition]]( http://ecx.images-amazon.com/images/I/41f6tpRVssL._BO2,204,203,200_PIsitb-sticker-arrow-click,TopRight,35,-76_AA300_SH20_AA278_PIkin4,BottomRight,-47,22_AA300_SH20_OU01_.jpg "Mockingjay (The Final Book of The Hunger Games) [Kindle Edition]")
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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out 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 the unrest? Katniss. And what's worse, President Snow has caused it to be clear that nobody 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 get one of the most brought up books with 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 through the beginning?
A: Very much so. While I didn't know every detail, of course, the arc in the story from gladiator game, to revolution, to war, towards 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 may be the biggest difference between writing a novel and writing a screenplay?
A: There are several significant differences. Time, for starters. When you will find yourself adapting a novel in a two-hour movie you cannot take everything with you. The story has to get condensed to fit the brand new form. Then there is the question of how best to consider a magazine told in the first person and offer tense and transform it right into a satisfying dramatic experience. In the novel, you don't ever leave Katniss for any second and therefore are privy to all of her thoughts so you need a method to dramatize her inner world and to produce it possible for other characters to exist outside of her company. Finally, you have the challenge of how to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A lot of things are acceptable on the page that may not be on the screen. But how certain moments are depicted will ultimately be in 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 are currently creating so fully who's is simply too difficult to think about new ideas?
A: We've a few seeds of ideas going swimming in my head but--given a great deal of of my focus remains on The Hunger Games--it will probably be awhile before one fully emerges and that i can begin to develop it.
Q: The Hunger Games is an annual televised event in which one boy and one girl from each with the twelve districts is made to participate in the fight-to-the-death on live TV. What can 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 interest in seeing who wins. The contestants are usually unknown, which means they are 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 possibility for desensitizing the audience, so that when they see real tragedy playing out on, say, the news, it won't have the impact it should.
Q: In case you were forced to compete inside the Hunger Games, exactly what do you think your personal 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 will be to get hold of a rapier if there was one available. But the facts is I'd probably get in relation to its a four in Training.
Q: What do you hope readers can 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, 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 from 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 it's for world control. While it is really a clever twist for the original plot, it means that there is certainly less focus on the individual characters and much 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 and also at her 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 of the rebels and the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are well evidenced in the voice, which goes from rage to puzzlement to a 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 in addition respects the individuality and different challenges of each from 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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