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 of 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 made it 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 in the most talked about 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 genuinely end just how 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, towards the eventual outcome remained constant through the writing process.

Q: We understand you worked around the initial screenplay for a film to get based 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 can't take everything with you. The story has to be condensed to fit the brand new form. Then you have the question of methods best to take the sunday paper told within the first person and present tense and transform it in a satisfying dramatic experience. In the novel, you don't ever leave Katniss for any second and so are privy to all of her thoughts so you'll need a strategy to dramatize her inner world and to make it possible for other characters to exist beyond her company. Finally, there's the challenge of how to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A great deal of the situation is acceptable over a page that wouldn't be on a screen. But how certain moments are depicted may ultimately be inside the director's hands.

Q: Do you believe you're capable of consider future projects while working on The Hunger Games, or are you immersed inside world you get lucky and be currently creating so fully that it is too difficult to consider new ideas?

A: I have a number of seeds of ideas going swimming in my head but--given that much of my focus is still on The Hunger Games--it is going to be awhile before one fully emerges i can begin to develop it.

Q: The Hunger Games is a yearly televised event through which one boy then one girl from each of the twelve districts is forced to participate in a 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 curiosity about seeing who wins. The contestants are generally unknown, which means they are relatable. Sometimes they have very talented people performing. Then you have 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, in order that after they see real tragedy playing out on, say, the news, this doesn't happen possess the impact it should.

Q: Should you were made to compete within the Hunger Games, what do you think that your 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 could be to obtain hold of a rapier if there was one available. But the facts is I'd probably get of a four in Training.

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

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

Q: What were some of your respective favorite novels when you had been 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's for world control. While it can be a clever twist around 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 in to a less vibrant Katniss by displaying despair both at those she feels responsible for killing and and 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 of the rebels as well as the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very well evidenced in the voice, which goes from rage to puzzlement to an unsure resume sweetness. McCormick also makes all the secondary characters—some malevolent, others benevolent, and several confused—very real with distinct voices and agendas/concerns. She acts just like an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and unique challenges of each and every with 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.