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

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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out from the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who can they think should pay for your unrest? Katniss. And what's worse, President Snow has managed to get clear that no-one 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 get one with the most talked about 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 your start that The Hunger Games story was intended as a trilogy. Did it genuinely end the way you planned it through the beginning?

A: Very much so. While Some 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 around the initial screenplay for any film to become according to The Hunger Games. What may be the biggest distinction between writing a novel and writing a screenplay?

A: There have been several significant differences. Time, for starters. When you are adapting a novel right into a two-hour movie you can not take everything with you. The story has being condensed to suit the new form. Then there is the question of methods best to take a book told inside the first person and offer tense and transform it into a satisfying dramatic experience. In the novel, you won't ever leave Katniss to get a second and so are privy to any any of her thoughts so you'll need a method to dramatize her inner world and to produce it easy 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 large amount of the situation is acceptable on the page that may not be on the screen. So how certain moments are depicted will ultimately be inside the director's hands.

Q: Do you believe you're able to consider future projects while working on The Hunger Games, or are you immersed inside the world you are currently creating so fully which it is just too hard to consider new ideas?

A: I have several seeds of ideas boating inside my head but--given a ton of of my focus continues to be on The Hunger Games--it will probably be awhile before one fully emerges i can start to develop it.

Q: The Hunger Games is once a year televised event in which one boy the other girl from each of 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 curiosity about 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 delivered to tears, or suffering physically--which I've found very disturbing. There's also the opportunity for desensitizing the audience, in order that whenever they see real tragedy playing out on, say, the news, this doesn't happen have the impact it should.

Q: Should you were expected to compete in the Hunger Games, what can you think your personal 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 would be to acquire hold of the rapier if there were one available. But the reality is I'd probably get about a four in Training.

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

A: Questions about how precisely elements from the books could be relevant in their own lives. And, if they are disturbing, what 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 in 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 this time around it's for world control. While it can be a clever twist around the original plot, it indicates that there exists less focus about 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 displaying despair both at those she feels in charge of killing and possibly at her motives and choices. This is 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 in the rebels along with the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are very evidenced in the voice, which goes from rage to puzzlement for an unsure return to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and several confused—very real with distinct voices and agendas/concerns. She acts such as an outside chronicler in giving listeners just “the facts” but also respects the individuality and unique challenges of each one 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.




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