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 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 the unrest? Katniss. And what's worse, President Snow has made it clear that no person 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 in the most talked about 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 as being a trilogy. Did it genuinely end the strategies by which you planned it through the beginning?

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

Q: We understand you worked for the initial screenplay to get a film being based 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. When you are adapting a novel into a two-hour movie you cannot take everything with you. The story has to be condensed to suit the brand new form. Then there's the question of how best to take the sunday paper told inside first person and present tense and transform it into a satisfying dramatic experience. In the novel, you won't ever leave Katniss to get a second and therefore are privy to any or all of her thoughts so you will need a way to dramatize her inner world and to produce it possible for other characters to exist outside of her company. Finally, you have the challenge of the way to present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A lot of situations are acceptable on the page that couldn't survive on the screen. So how certain moments are depicted will ultimately be within the director's hands.

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

A: We've a couple of seeds of ideas boating in my head but--given very much of my focus is still on The Hunger Games--it will likely be awhile before one fully emerges and that i can begin to develop it.

Q: The Hunger Games is an annual televised event where one boy the other girl from each in the twelve districts is expected to participate inside a fight-to-the-death on live TV. What do you think the benefit 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 desire for seeing who wins. The contestants are often unknown, which means they are relatable. Sometimes they've very talented people performing. Then there's the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I have found very disturbing. There's also the potential for desensitizing the audience, in order that after they see real tragedy playing out on, say, the news, it doesn't hold the impact it should.

Q: In the event you were made to compete in the Hunger Games, what do you imagine your special 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 would be to acquire hold of an rapier if there is one available. But the facts is I'd probably get about a four in Training.

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

A: Questions about how exactly elements with the books might be relevant within their own lives. And, if they're disturbing, the things they might do about them.

Q: What were some of your respective 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 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 a single more Hunger Game, but now it really is for world control. While it is a clever twist about 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 continues to breathe life in a less vibrant Katniss by displaying despair both at those she feels in charge of killing and and at her 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 in the rebels and also the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are well evidenced in the voice, which goes from rage to puzzlement to an unsure go back 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 just like an outside chronicler in giving listeners just “the facts” but also respects the individuality and unique challenges of each from 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.











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