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 with the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay for your unrest? Katniss. And what's worse, President Snow has managed to get clear that no one else is safe 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 being one with the most discussed books in the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said through the start that The Hunger Games story was intended as being a trilogy. Did it actually end just how you planned it in 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, for the eventual outcome remained constant throughout the writing process.

Q: We understand you worked around the initial screenplay to get a film being depending on The Hunger Games. What could be the biggest distinction between writing a novel and writing a screenplay?

A: There were several significant differences. Time, for starters. When you're adapting a novel in to a two-hour movie you can't take everything with you. The story has to become condensed to match the modern form. Then there's the question of how best to take a magazine told inside first person and provides tense and transform it in a satisfying dramatic experience. In the novel, you never leave Katniss for a second and so are privy to any or all of her thoughts so you'll need a approach to dramatize her inner world and to produce it feasible for other characters to exist outside of her company. Finally, there is the challenge of the simplest way to present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A great deal of things are acceptable on the page that may not be on the screen. So how certain moments are depicted could eventually be inside the director's hands.

Q: Are you currently in a situation to consider future projects while working on The Hunger Games, or are you immersed inside world you are currently creating so fully that it is too difficult to consider new ideas?

A: We have a couple of seeds of ideas floating around in my head but--given that much of my focus continues to be on The Hunger Games--it is going to be awhile before one fully emerges and I can commence to develop it.

Q: The Hunger Games is a yearly televised event where one boy and one girl from each in the twelve districts is expected to participate in a very 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 fascination with seeing who wins. The contestants are generally unknown, which means they are relatable. Sometimes they've very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically--which I've found very disturbing. There's also the opportunity for desensitizing the audience, to ensure when they see real tragedy playing out on, say, the news, it does not contain the impact it should.

Q: In case you were made to compete inside Hunger Games, what can you believe your special skill would be?

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

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

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

Q: What were some of one's favorite novels when you were 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 on this occasion it is for world control. While it can be a clever twist on the original plot, it means that there's less focus for the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life into a less vibrant Katniss by showing her despair both at those she feels accountable for killing and possibly at her own motives and choices. This is surely 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 from the rebels along with the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very well evidenced in his voice, which goes from rage to puzzlement for an unsure resume 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 as an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and different challenges of each one of 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.