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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 can they think should pay to the unrest? Katniss. And what's worse, President Snow has made it clear that no person else is safe 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 get one in 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 from the start that The Hunger Games story was intended like a trilogy. Did it really end the means by which you planned it from the beginning?

A: Very much so. While Some know every detail, of course, the arc with 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 for any film to become depending on The Hunger Games. What may be the biggest difference between writing a novel and writing a screenplay?

A: There have been several significant differences. Time, for starters. When you're adapting a novel into a two-hour movie you cannot take everything with you. The story has to get condensed to suit the newest form. Then there is the question of methods best to look at a novel told inside first person and provides tense and transform it right into a satisfying dramatic experience. In the novel, you never leave Katniss for any second and so are privy to all of her thoughts so you may 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 so that your core audience can view it. A lots of the situation is acceptable on a page that wouldn't be on the screen. But how certain moments are depicted could eventually be within the director's hands.

Q: Have you been able to consider future projects while working on The Hunger Games, or are you immersed inside the world you might be currently creating so fully who's is too hard to take into consideration new ideas?

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

Q: The Hunger Games is a yearly televised event where one boy the other girl from each with the twelve districts is instructed to participate in the fight-to-the-death on live TV. What can you think that the selling point 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 usually unknown, which makes them relatable. Sometimes they've 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 possibility for desensitizing the audience, so that after they see real tragedy playing out on, say, the news, it does not contain the impact it should.

Q: Should you were expected to compete in the Hunger Games, what do you believe your personal skill would be?

A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I utilized to be trained in sword-fighting, I guess my best hope would be to have hold of a rapier if there were one available. But the facts is I'd probably get of a four in Training.

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

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

Q: What were some of one's 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 in a single more Hunger Game, but this time it's for world control. While it can be a clever twist about the original plot, it indicates that there is less focus around the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life in to a less vibrant Katniss by showing her despair both at those she feels accountable for killing and and at her own motives and choices. This is surely an older, wiser, sadder, and intensely 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 and also the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are well evidenced as part of his voice, which goes from rage to puzzlement to an unsure come back to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and many confused—very real with distinct voices and agendas/concerns. She acts such as an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and unique challenges of every 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.