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 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 the 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 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 from 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 like 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 with the story from gladiator game, to revolution, to war, to the eventual outcome remained constant through the writing process.

Q: We understand you worked around the initial screenplay for the film to be based on The Hunger Games. What is the biggest distinction between writing a novel and writing a screenplay?

A: There have been several significant differences. Time, for starters. When you are adapting a novel into a two-hour movie you cannot take everything with you. The story has to get condensed to match the brand new form. Then you have the question of methods best to look at the sunday paper told within the first person and offer tense and transform it right into a satisfying dramatic experience. In the novel, you won't ever leave Katniss for a second and therefore are privy to any or all of her thoughts so you need a method to dramatize her inner world and to create it feasible 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 to ensure your core audience can view it. A lot of situations are acceptable over a page that would not be on a screen. So how certain moments are depicted will ultimately be within the director's hands.

Q: Have you been able to consider future projects while working on The Hunger Games, or are you immersed inside world you're currently creating so fully who's is simply too challenging to consider new ideas?

A: I've a couple of seeds of ideas floating around in my head but--given very much of my focus continues to be on The Hunger Games--it is going to be awhile before one fully emerges and I can start to develop it.

Q: The Hunger Games is once a year televised event in which one boy the other girl from each of the twelve districts is expected to participate in a very fight-to-the-death on live TV. What do you think the appeal of reality television is--to both kids and adults?

A: Well, they're often setup as games and, like sporting events, there's an desire for seeing who wins. The contestants are usually unknown, which makes them relatable. Sometimes they've got very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I find very disturbing. There's also the potential for desensitizing the audience, to ensure when they see real tragedy playing out on, say, the news, it doesn't hold the impact it should.

Q: In the big event you were made to compete in the Hunger Games, what do you think your personal skill would be?

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

Q: What would you hope readers will come away with once 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're disturbing, what they might do about them.

Q: What were some of the 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 can be for world control. While it is really a clever twist on the original plot, it means that there's less focus around the individual characters plus 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 accountable for killing and and also at her motives and choices. This is definitely 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 of the rebels and also 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 return to sweetness. McCormick also makes all the secondary characters—some malevolent, others benevolent, and a whole lot 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 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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