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 from 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 managed to get clear that no person else remains safe and secure either. Not Katniss's family, not her friends, not individuals of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to be one from the most brought up books with 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 a trilogy. Did it genuinely end the way you planned it from the beginning?

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

Q: We understand you worked about the initial screenplay for a film to get depending on The Hunger Games. What is 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 into a two-hour movie you can not take everything with you. The story has to be condensed to fit the new form. Then there is the question of how best to look at the sunday paper told within the first person and present tense and transform it into a satisfying dramatic experience. In the novel, you never leave Katniss for a second and are privy to all or any of her thoughts so you will need a way to dramatize her inner world and to generate it feasible for other characters to exist outside of 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 over a page that wouldn't be on a screen. But wait, how certain moments are depicted may ultimately be within the director's hands.

Q: Have you been capable of consider future projects while working on The Hunger Games, or are you immersed in the world you eventually be currently creating so fully who's is too difficult to consider new ideas?

A: We have a few seeds of ideas floating around within my head but--given very much of my focus is still on The Hunger Games--it will probably 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 and one 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 that the benefit of reality television is--to both kids and adults?

A: Well, they're often setup 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 got very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I have found very disturbing. There's also the potential for desensitizing the audience, so that whenever they see real tragedy playing out on, say, the news, it won't hold the impact it should.

Q: If you were expected to compete in the 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 had been trained in sword-fighting, I guess my best hope will be to have hold of a rapier if there was one available. But the reality is I'd probably get with relation to its a four in Training.

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

A: Questions about how elements with the books could possibly be relevant within their own lives. And, if they are disturbing, whatever they might do about them.

Q: What were some of your respective 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 from 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 now it is for world control. While it is often a clever twist on the original plot, this means that there is less focus on the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life in a less vibrant Katniss by displaying despair both at those she feels in charge of killing and possibly at her very own motives and choices. This is definitely 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 with the rebels as well as the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are well evidenced as part of his voice, which goes from rage to puzzlement to a unsure come back to sweetness. McCormick also helps to create 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 in addition respects the individuality and unique challenges of each one 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.