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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it from the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who will they think should pay for that unrest? Katniss. And what's worse, President Snow has made it clear that no-one 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 with the most discussed 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 like a trilogy. Did it really end the strategies by which you planned it from the beginning?

A: Very much so. While I did not 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 any film to be based on The Hunger Games. What could 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 in to a two-hour movie you can not take everything with you. The story has being condensed to suit the newest form. Then there's the question of how best to adopt the sunday paper told inside first person and offer tense and transform it in a satisfying dramatic experience. In the novel, you don't ever leave Katniss for the second and therefore are privy to any or all of her thoughts so you will need a method to dramatize her inner world and to generate it possible for other characters to exist outside of her company. Finally, there is the challenge of how to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A great deal of situations are acceptable over a page that may not be on a screen. But exactly how certain moments are depicted may ultimately be in the director's hands.

Q: Are you currently capable to consider future projects while working on The Hunger Games, or are you immersed within the world you are currently creating so fully which it is simply too difficult to think about new ideas?

A: I have a few seeds of ideas going swimming within my head but--given very much of my focus continues to be on The Hunger Games--it will probably be awhile before one fully emerges and that i can commence to develop it.

Q: The Hunger Games is a yearly televised event where one boy then one girl from each with the twelve districts is expected to participate in a fight-to-the-death on live TV. What do you think that 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 very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or delivered 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 won't contain the impact it should.

Q: If you were instructed to compete inside the Hunger Games, what do you think your special skill would be?

A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I became trained in sword-fighting, I guess my best hope would be to get hold of the rapier if there is one available. But the truth is I'd probably get in relation to its a four in Training.

Q: What does one hope readers can come away with once they read The Hunger Games trilogy?

A: Questions about how precisely elements of the books might be relevant of 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'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 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 a single more Hunger Game, but this time it really is for world control. While it is a clever twist on the original plot, it indicates that there is less focus about the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life into a less vibrant Katniss by displaying despair both at those she feels responsible for killing and possibly at her very own motives and choices. This is surely an older, wiser, sadder, and intensely 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 along with the victim of President Snow, who uses Peeta to make an attempt to control Katniss. Peeta's struggles are very evidenced as part of his voice, which goes from rage to puzzlement for an unsure resume sweetness. McCormick also makes the secondary characters—some malevolent, others benevolent, and lots of confused—very real with distinct voices and agendas/concerns. She acts as an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and different challenges of each and every 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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