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 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 your unrest? Katniss. And what's worse, President Snow has caused it to be clear that no one 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 get one from the most mentioned books in 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 as being a trilogy. Did it genuinely end the best way you planned it in the beginning?

A: Very much so. While Some 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 for the initial screenplay to get a film being based on The Hunger Games. What may be the biggest difference between writing a novel and writing a screenplay?

A: There are several significant differences. Time, for starters. If you are adapting a novel right into a two-hour movie you can not take everything with you. The story has to be condensed to suit the new form. Then there is the question of how best to take the sunday paper told inside the first person and present tense and transform it into a satisfying dramatic experience. In the novel, you don't ever leave Katniss for any second and therefore are privy to all of her thoughts so you may need a approach to dramatize her inner world and to create it feasible for other characters to exist beyond her company. Finally, you have the challenge of how to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A large amount of things are acceptable on a page that may not be over a screen. But exactly how certain moments are depicted may ultimately be inside director's hands.

Q: Are you currently capable of consider future projects while working on The Hunger Games, or are you immersed inside the world you are currently creating so fully which it is simply too difficult to consider new ideas?

A: We've a few seeds of ideas going swimming inside my head but--given very much of my focus remains on The Hunger Games--it will likely be awhile before one fully emerges and i also can begin to develop it.

Q: The Hunger Games is once a year televised event by which one boy the other girl from each in the twelve districts is instructed to participate in a very fight-to-the-death on live TV. Exactly what do you think 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 interest in seeing who wins. The contestants are often unknown, which makes them relatable. Sometimes they've 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 potential for desensitizing the audience, so that whenever they see real tragedy playing out on, say, the news, this doesn't happen possess the impact it should.

Q: In the big event you were instructed to compete in the Hunger Games, what can you believe 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 will be to have hold of your rapier if there is one available. But reality is I'd probably get in relation to a four in Training.

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

A: Questions about how precisely elements of the books could be relevant of their own lives. And, if they are disturbing, what they might do about them.

Q: What were some of your favorite novels when you're 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 now it's for world control. While it is often a clever twist around the original plot, it indicates that there is less focus about the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life in to a less vibrant Katniss by displaying despair both at those she feels accountable for killing and and at her own motives and choices. This is an older, wiser, sadder, and extremely 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 along with the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are very well evidenced in the voice, which goes from rage to puzzlement for an unsure return to sweetness. McCormick also helps to make the secondary characters—some malevolent, others benevolent, and a lot 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 unique challenges of each of the main characters. A successful completion of a 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.