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 from 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-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 in the most talked about books from 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 just how you planned it through 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, on the eventual outcome remained constant throughout the writing process.

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

A: There were several significant differences. Time, for starters. When you are adapting a novel in a two-hour movie you can not take everything with you. The story has to be condensed to suit the new form. Then there is the question of methods best to consider the sunday paper told within the first person and provides tense and transform it into a satisfying dramatic experience. In the novel, you won't ever leave Katniss to get a second and therefore are privy to all or any of her thoughts so you may need a method to dramatize her inner world and to produce 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 to ensure that your core audience can view it. A large amount of the situation is acceptable on a page that would not be over a screen. But exactly how certain moments are depicted may ultimately be within the director's hands.

Q: Are you currently capable of consider future projects while working on The Hunger Games, or are you immersed inside the world you're currently creating so fully who's is just too hard to consider new ideas?

A: I have a number of seeds of ideas floating around inside my head but--given very much of my focus remains on The Hunger Games--it is going to be awhile before one fully emerges i can start to develop it.

Q: The Hunger Games is once a year televised event by which one boy and something girl from each with the twelve districts is forced to participate inside a fight-to-the-death on live TV. Exactly what do you think that the selling point 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 often 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, this doesn't happen hold the impact it should.

Q: If you were expected to compete inside Hunger Games, what do you think that your special 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 would be to have hold of a rapier if there was one available. But reality is I'd probably get of a four in Training.

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

A: Questions about how elements of 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 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 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 really is for world control. While it is often a clever twist for the original plot, it indicates that there is certainly less focus on the individual characters and much more on political intrigue and large scale destruction. That said, Carolyn McCormick is constantly on the breathe life in to a less vibrant Katniss by displaying despair both at those she feels accountable for killing and and also at her motives and choices. This is surely 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 of the rebels and also the victim of President Snow, who uses Peeta to make an endeavor to 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 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 in 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.