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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 the unrest? Katniss. And what's worse, President Snow has managed to get clear that no one else remains safe and secure either. Not Katniss's family, not her friends, not the people 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 mentioned books in the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said in the start that The Hunger Games story was intended being a trilogy. Did it genuinely end the best way 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, on the eventual outcome remained constant through the writing process.
Q: We understand you worked for the initial screenplay for the film being depending on The Hunger Games. What may 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 into a two-hour movie you can not take everything with you. The story has to become condensed to suit the brand new form. Then you have the question of how best to adopt the sunday paper told inside the first person and provides tense and transform it right into a satisfying dramatic experience. In the novel, you never leave Katniss for a second and are privy to all of her thoughts so you need a approach to dramatize her inner world and to generate it possible for other characters to exist outside her company. Finally, you have the challenge of how you can present the violence while still maintaining a PG-13 rating so that your core audience can view it. A large amount of situations are acceptable over a page that wouldn't be on the screen. But how certain moments are depicted could eventually be inside the director's hands.
Q: Are you capable of 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 take into consideration new ideas?
A: We have a number of seeds of ideas floating around inside my head but--given very much of my focus continues to be on The Hunger Games--it will likely be awhile before one fully emerges i can commence to develop it.
Q: The Hunger Games is a yearly televised event where one boy the other girl from each with the twelve districts is expected to participate in a very fight-to-the-death on live TV. Exactly what do you think the benefit 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 interest in seeing who wins. The contestants are usually unknown, which ensures they are relatable. Sometimes they have very talented people performing. Then you have 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, in order that once they see real tragedy playing out on, say, the news, this doesn't happen have the impact it should.
Q: In the wedding you were made to compete inside Hunger Games, what can you think that 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 acquire hold of an rapier if there was one available. But the reality is I'd probably get of a four in Training.
Q: What do you hope readers will come away with when they read The Hunger Games trilogy?
A: Questions about how exactly elements from the books may be relevant inside 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 in a single more Hunger Game, but this time it's for world control. While it is a clever twist for the original plot, this means that there exists less focus about the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life in to a less vibrant Katniss by showing her despair both at those she feels in charge of killing and and at her very own motives and choices. This is surely an older, wiser, sadder, and very 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 along with the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are very well evidenced in his voice, which goes from rage to puzzlement for an unsure return to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and a lot of 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 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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