In the ruins of a place once known as North America lies the nation of Panem, a shining Capitol surrounded by twelve outlying districts. The Capitol is harsh and cruel and keeps the other districts in line by forcing them to participate in the annual Hunger Games, a fight-to-the-death on live TV.

One boy and one girl between the ages of twelve and sixteen are selected by lottery to play. The winner brings riches and favor tohis or her district. But that is nothing compared to what the Capitol wins: one more year of fearful compliance with its rule. Sixteen-year-old Katniss Everdeen, who lives alone with her mother and younger sister, regards it as a death sentence when she is forced to represent her impoverished district in the Games.

But Katniss has been close to dead before — and survival, for her, is second nature. Without really meaning to, she becomes a contender. But if she is to win, she will have to start making choices that weigh survival against humanity and life against love.

Acclaimed writer Suzanne Collins, author of the New York Times bestselling Underland Chronicles, delivers equal parts suspense and philosophy, adventure and romance, in this stunning novel set in a future with unsettling parallels to our present.

Suzanne Collins continues the amazing story of Katniss Everdeen in the phenomenal Hunger Games trilogy.

Against all odds, Katniss Everdeen has won the annual Hunger Games with fellow district tribute Peeta Mellark. But it was a victory won by defiance of the Capitol and their harsh rules. Katniss and Peeta should be happy. After all, they have just won for themselves and their families a life of safety and plenty. But there are rumors of rebellion among the subjects, and Katniss and Peeta, to their horror, are the faces of that rebellion. The Capitol is angry. The Capitol wants revenge.

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.

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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)

The ESV Pew and Worship Bible, Large Print is ideally suited for church use. Its large, readable type, durable hardcover format, high quality Bible paper, and 65 responsive readings make this Bible a great choice for churches.

• Size: 6.625" x 9.5"
• Large 12.5-point type
• 1,376 pages
• Black letter text
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• Section headings and textual footnotes
• Sixty-five responsive readings

Christians who have longed for a more readable literal Bible translation will find much to praise in the English Standard Version. The ESV's translation team of over 100 members has admirably attempted to preserve the stylistic variety of biblical authorship and ease of reading (at the eighth-grade level) despite the word-for-word translation, which historically has resulted in a choppier text flow. Bible study aficionados will appreciate the short introductions to each book, an extensive center column cross-reference system, full-color maps, and a 14,500-entry concordance. The hardcover edition includes the basic Bible frills: a presentation page, as well as marriage, birth, and death registries. --Cindy Crosby

"It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife."

Next to the exhortation at the beginning of Moby-Dick, "Call me Ishmael," the first sentence of Jane Austen's Pride and Prejudice must be among the most quoted in literature. And certainly what Melville did for whaling Austen does for marriage--tracing the intricacies (not to mention the economics) of 19th-century British mating rituals with a sure hand and an unblinking eye. As usual, Austen trains her sights on a country village and a few families--in this case, the Bennets, the Philips, and the Lucases. Into their midst comes Mr. Bingley, a single man of good fortune, and his friend, Mr. Darcy, who is even richer. Mrs. Bennet, who married above her station, sees their arrival as an opportunity to marry off at least one of her five daughters. Bingley is complaisant and easily charmed by the eldest Bennet girl, Jane; Darcy, however, is harder to please. Put off by Mrs. Bennet's vulgarity and the untoward behavior of the three younger daughters, he is unable to see the true worth of the older girls, Jane and Elizabeth. His excessive pride offends Lizzy, who is more than willing to believe the worst that other people have to say of him; when George Wickham, a soldier stationed in the village, does indeed have a discreditable tale to tell, his words fall on fertile ground.

Having set up the central misunderstanding of the novel, Austen then brings in her cast of fascinating secondary characters: Mr. Collins, the sycophantic clergyman who aspires to Lizzy's hand but settles for her best friend, Charlotte, instead; Lady Catherine de Bourgh, Mr. Darcy's insufferably snobbish aunt; and the Gardiners, Jane and Elizabeth's low-born but noble-hearted aunt and uncle. Some of Austen's best comedy comes from mixing and matching these representatives of different classes and economic strata, demonstrating the hypocrisy at the heart of so many social interactions. And though the novel is rife with romantic misunderstandings, rejected proposals, disastrous elopements, and a requisite happy ending for those who deserve one, Austen never gets so carried away with the romance that she loses sight of the hard economic realities of 19th-century matrimonial maneuvering. Good marriages for penniless girls such as the Bennets are hard to come by, and even Lizzy, who comes to sincerely value Mr. Darcy, remarks when asked when she first began to love him: "It has been coming on so gradually, that I hardly know when it began. But I believe I must date it from my first seeing his beautiful grounds at Pemberley." She may be joking, but there's more than a little truth to her sentiment, as well. Jane Austen considered Elizabeth Bennet "as delightful a creature as ever appeared in print". Readers of Pride and Prejudice would be hard-pressed to disagree. --Alix Wilber

This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.

#1 New York Times bestselling author Vince Flynn is back with another nail-biting political thriller that follows the young Mitch Rapp on a deadly mission to hunt down the men responsible for the Pan Am Lockerbie terrorist attack.

For months, Mitch Rapp has been steadily working his way through a list of men, bullet by bullet. With each kill, the tangled network of monsters responsible for the slaughter of 270 civilians becomes increasingly clear. He is given his next target: a plump Libyan diplomat who is prone to drink and is currently in Paris without a single bodyguard.

Rapp finds him completely unprotected and asleep in his bed. With confidence in his well-honed skills and conviction of the man’s guilt, he easily sends a bullet into the man’s skull. But in the split second it takes the bullet to leave the silenced pistol, everything changes. The door to the hotel room is kicked open and gunfire erupts all around Rapp. In an instant the hunter has become the hunted. Rapp is left wounded and must flee for his life.

The next morning, the news breaks in Washington that Libya’s Oil Minister has been killed along with three innocent civilians and four unidentified men. The French authorities are certain that the gunman is wounded and on the loose in Paris. As the finger pointing begins, Rapp’s handlers have only one choice—deny any responsibility for the incident and pray that their newest secret weapon stays that way, avoiding capture and dying quietly. One person in the group, however, is not prone to leaving things to chance. Rapp has become a liability, and he absolutely cannot be allowed to be taken alive by the French authorities. But it will soon become clear that nothing is more dangerous than a wounded and cornered Mitch Rapp.