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 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 made it clear that no-one else is protected either. Not Katniss's family, not her friends, not the folks of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to be one with the most talked about 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 the start that The Hunger Games story was intended like a trilogy. Did it actually end the way you planned it in the beginning?

A: Very much so. While I didnrrrt 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 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 distinction between writing a novel and writing a screenplay?

A: There was several significant differences. Time, for starters. When you discover yourself adapting a novel right into a two-hour movie you can not take everything with you. The story has to become condensed to match the brand new form. Then you have the question of methods best to take the sunday paper told inside first person and provides tense and transform it in a satisfying dramatic experience. In the novel, you won't ever leave Katniss to get a second and so are privy to all or any of her thoughts so you need a approach to dramatize her inner world and to produce it easy for other characters to exist beyond her company. Finally, there is the challenge of the easiest way 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 the page that couldn't survive over a screen. But wait, how certain moments are depicted could eventually be inside director's hands.

Q: Do you think that you're in a posture to consider future projects while working on The Hunger Games, or are you immersed inside the world you're currently creating so fully who's is too challenging to think about new ideas?

A: I've a number of seeds of ideas going swimming inside my head but--given a whole lot of of my focus is still on The Hunger Games--it will probably be awhile before one fully emerges and i also can begin to develop it.

Q: The Hunger Games is a yearly televised event where one boy the other girl from each from the twelve districts is expected to participate in a fight-to-the-death on live TV. What can you think that 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 curiosity about seeing who wins. The contestants are often unknown, which makes them relatable. Sometimes they have 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 opportunity for desensitizing the audience, in order that whenever they see real tragedy playing out on, say, the news, it won't hold the impact it should.

Q: In the wedding you were expected to compete within the Hunger Games, exactly what do you imagine your special 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 would be to acquire hold of an rapier if there was clearly one available. But the reality is I'd probably get with relation to a four in Training.

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

A: Questions about how precisely elements in the books might be relevant inside their own lives. And, if they are disturbing, the things they 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 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 one more Hunger Game, but on this occasion it is for world control. While it is really a clever twist around the original plot, it indicates that there is certainly less focus for 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 showing her despair both at those she feels accountable for killing and at her 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 with the rebels along with the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are well evidenced in the voice, which goes from rage to puzzlement to an unsure come back to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and lots of confused—very real with distinct voices and agendas/concerns. She acts just like an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and different challenges of each from the main characters. A successful completion of the 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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