Mockingjay (The Final Book of The Hunger Games) [Kindle Edition]

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Mockingjay (The Final Book of The Hunger Games) [Kindle Edition] Features

Mockingjay (The Final Book of The Hunger Games) [Kindle Edition] Description

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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other from 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 person 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 to get one in the most brought up books of 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 really end the way you planned it in the beginning?

A: Very much so. While I did not 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 about the initial screenplay for any film to become according to 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 in a two-hour movie you cannot take everything with you. The story has to become condensed to suit the new form. Then there's the question of how best to look at a magazine told within the first person and offer tense and transform it in a satisfying dramatic experience. In the novel, you don't ever leave Katniss for any second and therefore are privy to any any of her thoughts so you will need a method 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 how you can present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A lot of things are acceptable on a page that may not be on a screen. But exactly how certain moments are depicted could eventually be in the director's hands.

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

A: I've several seeds of ideas floating around inside my head but--given 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 a yearly televised event where 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. What do you believe 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 means they are relatable. Sometimes they've got very talented people performing. Then there's 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, to ensure that when they see real tragedy playing out on, say, the news, it won't possess the impact it should.

Q: If you were made to compete inside the Hunger Games, what do you think that 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 acquire hold of your rapier if there were one available. But the facts is I'd probably get about a four in Training.

Q: What does one hope readers can come away with once they read The Hunger Games trilogy?

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

Q: What were some of the 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 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 a single more Hunger Game, but this time it can be for world control. While it is a clever twist on the original plot, it means that there's less focus on the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life into a less vibrant Katniss by showing her despair both at those she feels in charge of killing and at her very own motives and choices. This is surely 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 of the rebels and the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are well evidenced in the voice, which goes from rage to puzzlement to a unsure resume sweetness. McCormick also makes all the secondary characters—some malevolent, others benevolent, and a whole lot of confused—very real with distinct voices and agendas/concerns. She acts like an outside chronicler in giving listeners just “the facts” but additionally respects the individuality and unique challenges of each one in 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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