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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out from the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay to the unrest? Katniss. And what's worse, President Snow has caused it to be clear that no person else remains safe and secure 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 talked about 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 as a trilogy. Did it actually end the way in which you planned it in the beginning?
A: Very much so. While I didn't know every detail, of course, the arc of the story from gladiator game, to revolution, to war, to the eventual outcome remained constant through the entire writing process.
Q: We understand you worked around the initial screenplay for the film to get depending 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're adapting a novel into a two-hour movie you can not take everything with you. The story has to get condensed to match the brand new form. Then there's the question of how best to consider the sunday paper told inside first person and present tense and transform it into a satisfying dramatic experience. In the novel, you never leave Katniss for any second and are privy to any any of her thoughts so you'll need a way to dramatize her inner world and to produce it feasible 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 to ensure that your core audience can view it. A lot of the situation is acceptable on a page that couldn't survive on the screen. So how certain moments are depicted may ultimately be within the director's hands.
Q: Have you been capable to consider future projects while working on The Hunger Games, or are you immersed in the world you are currently creating so fully that it is too difficult to take into consideration new ideas?
A: We've a number of seeds of ideas going swimming in my head but--given much of my focus is still on The Hunger Games--it will likely be awhile before one fully emerges i can start to develop it.
Q: The Hunger Games is an annual televised event by which one boy and something girl from each with the twelve districts is made to participate in a very fight-to-the-death on live TV. Exactly what do you believe the benefit of reality television is--to both kids and adults?
A: Well, they're often setup as games and, like sporting events, there's an curiosity about seeing who wins. The contestants are usually unknown, which ensures they are relatable. Sometimes they've got very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I've found very disturbing. There's also the opportunity for desensitizing the audience, to ensure that once they see real tragedy playing out on, say, the news, it won't hold the impact it should.
Q: If you were expected to compete inside 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 became trained in sword-fighting, I guess my best hope could be to get hold of the rapier if there was one available. But the truth is I'd probably get in regards to a four in Training.
Q: What do you hope readers should come away with after they read The Hunger Games trilogy?
A: Questions about how precisely elements in the books may be relevant inside 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 are 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 of 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 on this occasion it really is for world control. While it is a clever twist on the original plot, this means that there exists less focus around the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life in a less vibrant Katniss by showing her despair both at those she feels in charge of killing and possibly at her own 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 along with the victim of President Snow, who uses Peeta to make an endeavor to control Katniss. Peeta's struggles are very well evidenced in the voice, which goes from rage to puzzlement to an unsure come back to sweetness. McCormick also makes all the secondary characters—some malevolent, others benevolent, and lots of confused—very real with distinct voices and agendas/concerns. She acts such 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 an 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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Mockingjay (The Final Book of The Hunger Games) [Kindle Edition]
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