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 can they think should pay for your unrest? Katniss. And what's worse, President Snow has caused it to be 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 being one with the most discussed books with 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 best way you planned it from the beginning?

A: Very much so. While I didnrrrt know every detail, of course, the arc with the story from gladiator game, to revolution, to war, to the eventual outcome remained constant throughout the writing process.

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

A: There have been several significant differences. Time, for starters. When you're adapting a novel into a two-hour movie you simply can't take everything with you. The story has to be condensed to suit the newest form. Then there is the question of how best to look at the sunday paper told in the first person and present tense and transform it into a satisfying dramatic experience. In the novel, you won't ever leave Katniss for the second and so are privy to all or any of her thoughts so you may need a method to dramatize her inner world and to produce it feasible for other characters to exist outside her company. Finally, you have the challenge of the simplest way to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A great deal of the situation is acceptable on the page that couldn't survive on the screen. But how certain moments are depicted could eventually be in the director's hands.

Q: Have you been capable of consider future projects while working on The Hunger Games, or are you immersed within the world you are currently creating so fully that it is too difficult to take into consideration new ideas?

A: I have a few seeds of ideas floating around within my head but--given that much of my focus remains on The Hunger Games--it will likely be awhile before one fully emerges and that i can start to develop it.

Q: The Hunger Games is an annual televised event where one boy and something girl from each of the twelve districts is expected to participate in a fight-to-the-death on live TV. Exactly what do you think that the selling point 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 fascination with seeing who wins. The contestants are usually unknown, which ensures they are relatable. Sometimes they have very talented people performing. Then there is 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, so that after they see real tragedy playing out on, say, the news, this doesn't happen contain the impact it should.

Q: In case you were instructed to compete inside the Hunger Games, what do you think that 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 can be to have hold of the rapier if there was one available. But the truth is I'd probably get with relation to its a four in Training.

Q: What would you hope readers should come away with when they read The Hunger Games trilogy?

A: Questions about how elements of the books could possibly be relevant within their own lives. And, when 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 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 a more Hunger Game, but this time around it is for world control. While it is often a clever twist around the original plot, it indicates that there's less focus on 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 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 incredibly 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 from the rebels and the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are very evidenced as part of his voice, which goes from rage to puzzlement to a unsure return 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 such as an outside chronicler in giving listeners just “the facts” but also respects the individuality and different challenges of each one of the main characters. A successful completion of your monumental series.–Edith Ching, University of Maryland, College Park╬▒(c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.


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