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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 it out of the bloody arena alive, she’s still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay for the unrest? Katniss. And what’s worse, President Snow has made it clear that no one else is safe either. Not Katniss’s family, not her friends, not the people of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins’s groundbreaking The Hunger Games trilogy promises to be one of the most talked about books of 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 as a trilogy. Did it actually end the way 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 throughout the writing process.

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

A: There were several significant differences. Time, for starters. When you’re adapting a novel into a two-hour movie you can’t take everything with you. The story has to be condensed to fit the new form. Then there’s the question of how best to take a book told in the first person and present tense and transform it into a satisfying dramatic experience. In the novel, you never leave Katniss for a second and are privy to all of her thoughts so you need a way to dramatize her inner world and to make it possible for other characters to exist outside of 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 lot of things are acceptable on a page that wouldn’t be on a screen. But how certain moments are depicted will ultimately be in the director’s hands.

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

A: I have a few seeds of ideas floating around in my head but–given that much of my focus is still on The Hunger Games–it will probably be awhile before one fully emerges and I can begin to develop it.

Q: The Hunger Games is an annual televised event in which one boy and one girl from each of the twelve districts is forced to participate in a fight-to-the-death on live TV. What do you think the appeal 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 interest in seeing who wins. The contestants are usually unknown, which makes them relatable. Sometimes they have very talented people performing. Then there’s the voyeuristic thrill—watching people being humiliated, or brought to tears, or suffering physically–which I find very disturbing. There’s also the potential for desensitizing the audience, so that when they see real tragedy playing out on, say, the news, it doesn’t have the impact it should.

Q: If you were forced to compete in the Hunger Games, what do you think 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 would be to get hold of a rapier if there was one available. But the truth is I’d probably get about a four in Training.

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

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

Q: What were some of your 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 of 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 this time it is for world control. While it is a clever twist on the original plot, it means that there is less focus on the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick continues to breathe life into a less vibrant Katniss by showing her despair both at those she feels responsible for killing and and at her own motives and choices. This is 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 of the rebels and the victim of President Snow, who uses Peeta to try to control Katniss. Peeta’s struggles are well evidenced in his voice, which goes from rage to puzzlement to an unsure return to sweetness. McCormick also makes 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 also respects the individuality and unique challenges of each 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.

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The Fall of the Roman Empire : A New History of Rome and the Barbarians [Kindle Edition]

“A rich and dramatic synthesis of the latest research on Gibbon’s old story…. The drama of Mr. Heather’s book lies not just in the world-changing story he has to tell, but in his behind-the-scenes view of how historians work. Like a master detective, Mr. Heather employs the most various techniques–everything from pollen sampling to archaeology to literary criticism–to wring the truth from the reticent past…. What Mr. Heather offers is not easy analogies but a realization of the complex strangeness of the past–the achievement of a great historian.”–Adam Kirsch, New York Sun

“Like a late Roman emperor, Heather is determined to impose order on a fabric that is always threatening to fragment and collapse into confusion; unlike most late Roman emperors, he succeeds triumphantly.”–The Times of London

“Gibbon’s ‘awful revolution’–the decline and fall of the Roman Empire in the West–still casts a pall. Yet, as Peter Heather’s brilliant mixture of rapid flowing narrative and deeply thought analysis fully brings out, it still exerts a pull too. ‘Lepcisgate’, Alaric’s Goths, and Attila’s Huns are all thrown into Heather’s melting pot along with Roman imperial aims and mismanagement. The outcome is a conclusion Heather finds pleasing–and Gibbon would not have despised–that Roman imperialism was ultimately responsible for its own demise.”–Paul Cartledge, University of Cambridge

“To a period that has often appeared as impenetrable as it is momentous, Peter Heather brings a rare combination of scholarship and flair for narrative. With this book, a powerful searchlight has been shone upon the shadow-dimmed end of Rome’s western empire.”–Tom Holland, author of Rubicon: The Last Years of the Roman Republic

“Deftly covering the necessary economic and political realities of decline and fall, Heather also presents the stories and the characters of this tumultuous epoch, in a colorful and enthralling narrative.”–The Independent

“Masterful, lucid…. Always rewarding.”–ForeWord Magazine

The death of the Roman Empire is one of the perennial mysteries of world history. Now, in this groundbreaking book, Peter Heather proposes a stunning new solution: Rome generated its own nemesis. Centuries of imperialism turned the neighbors it called barbarians into an enemy capable of dismantling the Empire that had dominated their lives for so long. Heather is a leading authority on the late Roman Empire and on the barbarians. In The Fall of the Roman Empire, he explores the extraordinary success story that was the Roman Empire and uses a new understanding of its continued strength and enduring limitations to show how Europe’s barbarians, transformed by centuries of contact with Rome on every possible level, eventually pulled it apart. He shows first how the Huns overturned the existing strategic balance of power on Rome’s European frontiers, to force the Goths and others to seek refuge inside the Empire. This prompted two generations of struggle, during which new barbarian coalitions, formed in response to Roman hostility, brought the Roman west to its knees. The Goths first destroyed a Roman army at the battle of Hadrianople in 378, and went on to sack Rome in 410. The Vandals spread devastation in Gaul and Spain, before conquering North Africa, the breadbasket of the Western Empire, in 439. We then meet Attila the Hun, whose reign of terror swept from Constantinople to Paris, but whose death in 453 ironically precipitated a final desperate phase of Roman collapse culminating in the Vandals’ defeat of the massive Byzantine Armada: the west’s last chance for survival. Peter Heather convincingly argues that the Roman Empire was not on the brink of social or moral collapse. What brought it to an end were the barbarians.

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Be a vision of grace and sophistication in the new look from Jessica Simpson. Cheetah brings you a nude and black leather upper with a black shiny detail at the back. This Mary Jane is complete with a center strap, 5 inch heel and 1 inch double platform.

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