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

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Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made out of the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who can they think should pay for that unrest? Katniss. And what's worse, President Snow has caused it to be clear that no one else remains safe and secure 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 to become 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 from the start that The Hunger Games story was intended being a trilogy. Did it actually end the way you planned it from 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, to the eventual outcome remained constant through the entire writing process.

Q: We understand you worked on the initial screenplay to get a film to be according to The Hunger Games. What is 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 in to a two-hour movie you can not take everything with you. The story has to get condensed to match the new form. Then there is the question of methods best to consider a magazine told inside the first person and present tense and transform it in to a satisfying dramatic experience. In the novel, you won't ever leave Katniss to get a second and are privy to any or all of her thoughts so you may need a method to dramatize her inner world and to make it possible for other characters to exist outside of her company. Finally, there is the challenge of how you can present the violence while still maintaining a PG-13 rating to ensure your core audience can view it. A large amount of situations are acceptable on the page that would not be over a screen. So how certain moments are depicted may ultimately be inside director's hands.

Q: Are you currently capable of consider future projects while working on The Hunger Games, or are you immersed inside world you're currently creating so fully it is too difficult to take into consideration new ideas?

A: We have a number of seeds of ideas boating inside my head but--given a good deal of of my focus continues to be on The Hunger Games--it will probably be awhile before one fully emerges and i also can start to develop it.

Q: The Hunger Games is once a year televised event where 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 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 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 potential for desensitizing the audience, to ensure that after they see real tragedy playing out on, say, the news, it does not hold the impact it should.

Q: In the wedding you were instructed to compete in the Hunger Games, exactly what do you believe your skill would be?

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

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

A: Questions about how exactly elements with the books could be relevant inside their own lives. And, when they are disturbing, the things they 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 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 one more Hunger Game, but on this occasion it is for world control. While it is really a clever twist for the original plot, it indicates that there is less focus on the individual characters plus much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life into a less vibrant Katniss by displaying despair both at those she feels accountable for killing and at her 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 from the rebels and also the victim of President Snow, who uses Peeta to attempt to control Katniss. Peeta's struggles are very well evidenced in the voice, which goes from rage to puzzlement to an unsure come back to sweetness. McCormick also makes all the secondary characters—some malevolent, others benevolent, and many confused—very real with distinct voices and agendas/concerns. She acts like an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and unique challenges of each one in 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.