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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 will they think should pay to the unrest? Katniss. And what's worse, President Snow has managed to get 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 brought up books in 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 genuinely end the means by which you planned it through the beginning?

A: Very much so. While I didn't know every detail, of course, the arc in the story from gladiator game, to revolution, to war, to the eventual outcome remained constant through the writing process.

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

A: There are several significant differences. Time, for starters. If you are adapting a novel in to a two-hour movie you cannot take everything with you. The story has being condensed to match the modern form. Then there's the question of how best to consider a magazine told within the first person and present tense and transform it in to a satisfying dramatic experience. In the novel, you don't ever leave Katniss to get a second and are privy to any or all of her thoughts so you may need a strategy to dramatize her inner world and to produce it easy for other characters to exist outside her company. Finally, you have 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 things are acceptable on a page that would not be over a screen. So how certain moments are depicted may ultimately be within the director's hands.

Q: Have you been in a posture to consider future projects while working on The Hunger Games, or are you immersed in the world you might be currently creating so fully it is too challenging to think about new ideas?

A: We have several seeds of ideas going swimming within my head but--given a ton of of my focus continues to be on The Hunger Games--it will likely be awhile before one fully emerges and i also can commence to develop it.

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

A: Well, they're often create as games and, like sporting events, there's an fascination with seeing who wins. The contestants are generally unknown, which ensures they are relatable. Sometimes they've very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I've found very disturbing. There's also the potential 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 the wedding you were forced to compete inside the Hunger Games, what do you believe 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 have hold of an rapier if there were one available. But the facts is I'd probably get in regards to a four in Training.

Q: What can you hope readers can come away with after they read The Hunger Games trilogy?

A: Questions about how precisely elements from the books may be relevant in their own lives. And, if they're disturbing, what you might do about them.

Q: What were some of your 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 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 is for world control. While it is really a clever twist on the original plot, it indicates that there exists less focus about the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life in to a less vibrant Katniss by displaying despair both at those she feels accountable for killing and and at her very own motives and choices. This is 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 in the rebels and the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very well evidenced as part of his voice, which goes from rage to puzzlement to an unsure return 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 like an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and different challenges of each and every of 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.