Why is it so hard for writers to give satisfying endings to series? On TV, I can only think of a handful of truly stellar series finales (Lost, M*A*S*H, Six Feet Under) while I can name a litany of programs that either had miserable finales (The Sopranos, Seinfeld) or should have ended long before their final season (cough cough Dexter cough cough). Books don’t get off any easier. I love the Dark Tower series, and I don’t have the same spiteful reaction that many fans have to its controversial ending, but I recognize that Stephen King could have probably delivered something slightly more satisfying. I also love Harry Potter and the Deathly Hallows but there’s still no logical explanation for why Harry didn’t die in those woods (I don’t think the series should have ended with Harry’s death but J.K. Rowling shouldn’t have written herself into that corner). With Suzanne Collins history of writing rushed and hackneyed endings for The Hunger Games and Catching Fire, it should be no surprise that the series itself comes to an artificially forced conclusion in Mockingjay.
Spoilers beware for anyone who hasn’t finished Catching Fire (obviously, I’ll try not to spoil any major plot of points of Mockingjay). After destroying the force field surrounding the Quarter Quell’s arena in the last book, Katniss, Finnick, and Beetee have been rescued by the rebel factions opposing the tyrannical Capitol. The rebels are led by the long thought to be destroyed District 13 which ekes out a livable by strict life underground as they prepare to go to war against the Capitol. However, Peeta (and fellow former victor Johanna) was captured by the Capitol and is being used as a propaganda tool by the evil President Snow. District 13 wants Katniss to become the symbol of the rebellion, and although Katniss initially has questions about their motives and methods, she eventually agrees as she helps to rally the fight to rescue Peeta, take back the 11 Districts (since 12 was destroyed at the end of Catching Fire), and overthrow the government of Panem.
While I felt that Mockingjay stumbled in many respects (especially the ending but more on that later), one of the surprising areas where it succeeded was setting up such a morally ambiguous and brutal tale of war. The main powers that are standing up to the Capitol (District 13) are nearly as totalitarian as Panem. If you replaced the rampant greed of the Capitol and its use of the serfdom of the Districts with an essentially Marxist sense of egalitarian communalism, you’d get District 13. Either way, the power in both governments is centered in a very small group of people. Katniss (in her never-ending and often unnecessary inner monologue) constantly reflects on the morally questionable things that District 13 asks her to do for the war effort, but then Suzanne Collins always helps cement the ambiguity by presenting the moral necessity of removing the cruel and brutal Capitol. How far do you go before you become as bad as the despots you overthrow? It’s a question all revolutions face and its at the core of a young adult novel of all things.
It probably shouldn’t be surprising that Collins does not shy away from graphic descriptions of the horrors of war considering all that she put her characters through in the previous two books. Yet, I still can’t think of a single young adult book that dealt with war in as serious and brutal a manner as Mockingjay. Katniss becomes a soldier in this book, and if Suzanne Collins tried to have Katniss only kill when absolutely necessary in The Hunger Games, she is forced to kill a ton of enemy soldiers (and even a civilian in a truly shocking moment) to keep herself and her loved ones alive. Actually, by the end of the novel, Katniss has become such a cold-blooded killer that I couldn’t tell if Collins was advocating those actions are making a comment on how war changes people. In fact, the brutality of the novel almost becomes one of its flaws because at times it almost seems like Collins is going on a Heinlein-esque ode to militarism.
If you thought the ending to Catching Fire was abrupt, it has nothing on Mockingjay. For two straight books now, it’s almost like Suzanne Collins has another 200 pages or so planned out in her head but then she has to rush to the finish line because the book’s due date was coming up. This is what happens when you stick to a one book a year release schedule. I don’t want to spoil anything about the ending because it contains a handful of truly shocking moments, but it was painfully obvious that there was a lot more to this story. There were a million dangling plot threads, but Collins must have realized she was running out of time because she made a massive author’s saving throw to bring it all to a close. Whether the ending is remotely satisfying will be up to each individual reader, but for me, it was a mess that managed to rush the climax and then drag the ending out more than it should.
Well, the series is finally over. I’m not sure what I’m going to read next. Neil Gaiman (who responded to me on Twitter!!!!!!!!!) just announced that he’s writing a prequel to the Sandman series so maybe I’ll do my semi-annual re-reading of my favorite book series ever. I used to read it like once a year but it’s been two now. I feel it’s high time to get back in the swing of that awesome book series. Although at the same time, I sort of want to read something more serious. I have On the Road which I’ve never read and I’d like to read it before I see the movie. Anyways, I don’t regret the time I spent with The Hunger Games trilogy. As I’ve said before, Suzanne Collins is a mostly excellent storyteller who just happens to be a terrible writer (her prose is abysmal but I’ve beat that dead horse enough in the reviews of the first two books). However, by the end of Mockingjay I came to a conclusion. She isn’t writing children’s books. She just happens to be writing semi-mature themed books that are enjoyed by children because she’s only capable of writing at their level.
Final Score: B-