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 out in the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who can they think should pay for the unrest? Katniss. And what's worse, President Snow has managed to get 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 being one of the most talked about books in the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said in the start that The Hunger Games story was intended as a trilogy. Did it really end just how you planned it from the beginning?

A: Very much so. While I didn't know every detail, of course, the arc of the story from gladiator game, to revolution, to war, to the eventual outcome remained constant through the entire writing process.

Q: We understand you worked on the initial screenplay for the film to be according to The Hunger Games. What could be the biggest difference between writing a novel and writing a screenplay?

A: There are several significant differences. Time, for starters. When you find yourself adapting a novel into a two-hour movie you cannot take everything with you. The story has being condensed to match the brand new form. Then you have the question of how best to look at a book told in the first person and provides tense and transform it right into a satisfying dramatic experience. In the novel, you don't ever leave Katniss to get a second and so are privy to any or all of her thoughts so you will need a way to dramatize her inner world and to generate it easy for other characters to exist outside of her company. Finally, you have the challenge of the easiest way 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 on the page that may not be on the screen. So how certain moments are depicted may ultimately be within the director's hands.

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

A: We've a number of seeds of ideas boating in my head but--given much of my focus remains on The Hunger Games--it will probably be awhile before one fully emerges and that i can begin to develop it.

Q: The Hunger Games is once a year televised event through which one boy the other girl from each with the twelve districts is forced to participate in a very fight-to-the-death on live TV. What do you think that 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 curiosity about seeing who wins. The contestants are usually unknown, which means they are relatable. Sometimes they've very talented people performing. Then there is the voyeuristic thrill—watching people being humiliated, or delivered to tears, or suffering physically--which I've found very disturbing. There's also the possibility for desensitizing the audience, so that once they see real tragedy playing out on, say, the news, it doesn't contain the impact it should.

Q: In case you were forced to compete within the Hunger Games, what do 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 can be to have hold of an rapier if there is one available. But reality is I'd probably get in relation to a four in Training.

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

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

Q: What were some of the 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 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 single more Hunger Game, but now it can be for world control. While it is a clever twist for the original plot, it means that there exists less focus for the individual characters plus more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life right into a less vibrant Katniss by showing her despair both at those she feels accountable for killing and and at her very own motives and choices. This is definitely an older, wiser, sadder, and incredibly 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 with the rebels along with the victim of President Snow, who uses Peeta to try to control Katniss. Peeta's struggles are very well evidenced in the voice, which goes from rage to puzzlement to a unsure come back to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and lots 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 different challenges of every with the main characters. A successful completion of an 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.