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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out with the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay for that unrest? Katniss. And what's worse, President Snow has made it clear that nobody else remains safe and secure 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 become one with the most brought up books from the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said through the start that The Hunger Games story was intended as being a trilogy. Did it really end just how you planned it in 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, towards the eventual outcome remained constant through the writing process.
Q: We understand you worked around the initial screenplay for the film to get according to The Hunger Games. What could be the biggest distinction 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 simply can't take everything with you. The story has to get condensed to fit the newest form. Then there's the question of how best to take a magazine told inside first person and present tense and transform it into a satisfying dramatic experience. In the novel, you never leave Katniss for the second and so are privy to all of her thoughts so you need a approach to dramatize her inner world and to generate it easy for other characters to exist outside her company. Finally, there is the challenge of the way to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A great deal of situations are acceptable on the page that couldn't survive on the screen. So how certain moments are depicted will ultimately be inside the director's hands.
Q: Do you think that you're in a position to consider future projects while working on The Hunger Games, or are you immersed in the world you eventually be currently creating so fully that it is too difficult to take into consideration new ideas?
A: I have a number of seeds of ideas floating around within my head but--given that much 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 by which one boy and one girl from each in 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 ensures they are relatable. Sometimes they've got very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I have found very disturbing. There's also the potential for desensitizing the audience, to ensure after they see real tragedy playing out on, say, the news, it doesn't possess the impact it should.
Q: Should you were instructed to compete inside Hunger Games, so what can 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 will be to obtain hold of a rapier if there was one available. But the facts is I'd probably get about a four in Training.
Q: What do you hope readers can come away with when they read The Hunger Games trilogy?
A: Questions about how elements from the books could be relevant in their own lives. And, if they are disturbing, what you 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 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 often a clever twist around the original plot, it indicates that there is less focus on the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life in a less vibrant Katniss by displaying despair both at those she feels in charge of killing and and also at her very own motives and choices. This is definitely 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 of the rebels and also the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are very evidenced in his voice, which goes from rage to puzzlement to a unsure return to sweetness. McCormick also helps to make the secondary characters—some malevolent, others benevolent, and many confused—very real with distinct voices and agendas/concerns. She acts as an outside chronicler in giving listeners just “the facts” but also respects the individuality and unique challenges of each and every with 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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Tuesday, January 10, 2012