Mockingjay (The Final Book of The Hunger Games)

by Suzanne Collins

  "I don't think being the mayor of Twelve put the odds in his favor," says Thom.

  I nod and keep moving, careful not to look in the back of the cart. All through the town and the Seam, it's the same. The reaping of the dead. As I near the ruins of my old house, the road becomes thick with carts. The Meadow's gone, or at least dramatically altered. A deep pit has been dug, and they're lining it with bones, a mass grave for my people. I skirt around the hole and enter the woods at my usual place. It doesn't matter, though. The fence isn't charged anymore and has been propped up with long branches to keep out the predators. But old habits die hard. I think about going to the lake, but I'm so weak that I barely make it to my meeting place with Gale. I sit on the rock where Cressida filmed us, but it's too wide without his body beside me. Several times I close my eyes and count to ten, thinking that when I open them, he will have materialized without a sound as he so often did. I have to remind myself that Gale's in 2 with a fancy job, probably kissing another pair of lips.

  It is the old Katniss's favorite kind of day. Early spring. The woods awakening after the long winter. But the spurt of energy that began with the primroses fades away. By the time I make it back to the fence, I'm so sick and dizzy, Thom has to give me a ride home in the dead people's cart. Help me to the sofa in the living room, where I watch the dust motes spin in the thin shafts of afternoon light.

  My head snaps around at the hiss, but it takes awhile to believe he's real. How could he have gotten here? I take in the claw marks from some wild animal, the back paw he holds slightly above the ground, the prominent bones in his face. He's come on foot, then, all the way from 13. Maybe they kicked him out or maybe he just couldn't stand it there without her, so he came looking.

  "It was the waste of a trip. She's not here," I tell him. Buttercup hisses again. "She's not here. You can hiss all you like. You won't find Prim." At her name, he perks up. Raises his flattened ears. Begins to meow hopefully. "Get out!" He dodges the pillow I throw at him. "Go away! There's nothing left for you here!" I start to shake, furious with him. "She's not coming back! She's never ever coming back here again!" I grab another pillow and get to my feet to improve my aim. Out of nowhere, the tears begin to pour down my cheeks. "She's dead." I clutch my middle to dull the pain. Sink down on my heels, rocking the pillow, crying. "She's dead, you stupid cat. She's dead." A new sound, part crying, part singing, comes out of my body, giving voice to my despair. Buttercup begins to wail as well. No matter what I do, he won't go. He circles me, just out of reach, as wave after wave of sobs racks my body, until eventually I fall unconscious. But he must understand. He must know that the unthinkable has happened and to survive will require previously unthinkable acts. Because hours later, when I come to in my bed, he's there in the moonlight. Crouched beside me, yellow eyes alert, guarding me from the night.

  In the morning, he sits stoically as I clean the cuts, but digging the thorn from his paw brings on a round of those kitten mews. We both end up crying again, only this time we comfort each other. On the strength of this, I open the letter Haymitch gave me from my mother, dial the phone number, and weep with her as well. Peeta, bearing a warm loaf of bread, shows up with Greasy Sae. She makes us breakfast and I feed all my bacon to Buttercup.

  Slowly, with many lost days, I come back to life. I try to follow Dr. Aurelius's advice, just going through the motions, amazed when one finally has meaning again. I tell him my idea about the book, and a large box of parchment sheets arrives on the next train from the Capitol.

  I got the idea from our family's plant book. The place where we recorded those things you cannot trust to memory. The page begins with the person's picture. A photo if we can find it. If not, a sketch or painting by Peeta. Then, in my most careful handwriting, come all the details it would be a crime to forget. Lady licking Prim's cheek. My father's laugh. Peeta's father with the cookies. The color of Finnick's eyes. What Cinna could do with a length of silk. Boggs reprogramming the Holo. Rue poised on her toes, arms slightly extended, like a bird about to take flight. On and on. We seal the pages with salt water and promises to live well to make their deaths count. Haymitch finally joins us, contributing twenty-three years of tributes he was forced to mentor. Additions become smaller. An old memory that surfaces. A late primrose preserved between the pages. Strange bits of happiness, like the photo of Finnick and Annie's newborn son.

  We learn to keep busy again. Peeta bakes. I hunt. Haymitch drinks until the liquor runs out, and then raises geese until the next train arrives. Fortunately, the geese can take pretty good care of themselves. We're not alone. A few hundred others return because, whatever has happened, this is our home. With the mines closed, they plow the ashes into the earth and plant food. Machines from the Capitol break ground for a new factory where we will make medicines. Although no one seeds it, the Meadow turns green again.

  Peeta and I grow back together. There are still moments when he clutches the back of a chair and hangs on until the flashbacks are over. I wake screaming from nightmares of mutts and lost children. But his arms are there to comfort me. And eventually his lips. On the night I feel that thing again, the hunger that overtook me on the beach, I know this would have happened anyway. That what I need to survive is not Gale's fire, kindled with rage and hatred. I have plenty of fire myself. What I need is the dandelion in the spring. The bright yellow that means rebirth instead of destruction. The promise that life can go on, no matter how bad our losses. That it can be good again. And only Peeta can give me that.

  So after, when he whispers, "You love me. Real or not real?"

  I tell him, "Real."

  EPILOGUE

  They play in the Meadow. The dancing girl with the dark hair and blue eyes. The boy with blond curls and gray eyes, struggling to keep up with her on his chubby toddler legs. It took five, ten, fifteen years for me to agree. But Peeta wanted them so badly. When I first felt her stirring inside of me, I was consumed with a terror that felt as old as life itself. Only the joy of holding her in my arms could tame it. Carrying him was a little easier, but not much.

  The questions are just beginning. The arenas have been completely destroyed, the memorials built, there are no more Hunger Games. But they teach about them at school, and the girl knows we played a role in them. The boy will know in a few years. How can I tell them about that world without frightening them to death? My children, who take the words of the song for granted:

  Deep in the meadow, under the willow

  A bed of grass, a soft green pillow

  Lay down your head, and close your sleepy eyes

  And when again they open, the sun will rise.

  Here it's safe, here it's warm

  Here the daisies guard you from every harm

  Here your dreams are sweet and tomorrow brings them true

  Here is the place where I love you.

  My children, who don't know they play on a graveyard.

  Peeta says it will be okay. We have each other. And the book. We can make them understand in a way that will make them braver. But one day I'll have to explain about my nightmares. Why they came. Why they won't ever really go away.

  I'll tell them how I survive it. I'll tell them that on bad mornings, it feels impossible to take pleasure in anything because I'm afraid it could be taken away. That's when I make a list in my head of every act of goodness I've seen someone do. It's like a game. Repetitive. Even a little tedious after more than twenty years.

  But there are much worse games to play.

  THE END

  ACKNOWLEDGMENTS

  I would like to pay tribute to the following people who gave their time, talent, and support to The Hunger Games.

  First off, I must thank my extraordinary triumvirate of editors. Kate Egan, whose insight, humor, and intelligence have guided me through eight novels; Jen Rees, whose clear vision catches the things the rest of us miss; and David Levithan, who moves so effortlessly through his multiple roles of Note Giver, Title Master, and Editorial Director
.

  Through rough drafts, food poisoning, every up and down, you are there with me, Rosemary Stimola, equal parts gifted creative advisor and professional guardian, my literary agent and my friend. And Jason Dravis, my longtime entertainment agent, I feel so lucky to have you watching over me as we head for the screen.

  Thanks to designer Elizabeth B. Parisi and artist Tim O'Brien for the beautiful book jackets that so successfully captured both the mockingjays and people's attention.

  All hail the incredible team at Scholastic for getting The Hunger Games out into the world: Sheila Marie Everett, Tracy van Straaten, Rachel Coun, Leslie Garych, Adrienne Vrettos, Nick Martin, Jacky Harper, Lizette Serrano, Kathleen Donohoe, John Mason, Stephanie Nooney, Karyn Browne, Joy Simpkins, Jess White, Dick Robinson, Ellie Berger, Suzanne Murphy, Andrea Davis Pinkney, the entire Scholastic sales force, and the many others who have devoted so much energy, smarts, and savvy to this series.

  To the five writer-friends I rely on most heavily, Richard Register, Mary Beth Bass, Christopher Santos, Peter Bakalian, and James Proimos, much gratitude for your advice, perspective, and laughter.

  Special love to my late father, Michael Collins, who laid the groundwork for this series with his deep commitment to educating his children on war and peace, and my mother, Jane Collins, who introduced me to the Greeks, sci-fi, and fashion (although that last one didn't stick); my sisters, Kathy and Joanie; my brother, Drew; my in-laws, Dixie and Charles Pryor; and the many members of my extended family whose enthusiasm and support have kept me going.

  And finally, I turn to my husband, Cap Pryor, who read The Hunger Games in its earliest draft, insisted on answers to questions I hadn't even imagined, and remained my sounding board through the entire series. Thanks to him and my wonderful kids, Charlie and Isabel, for their daily love, their patience, and the joy they bring me.

  ABOUT THE AUTHOR

  SUZANNE COLLINS is the author of the bestselling Underland Chronicles series, which started with Gregor the Overlander. Her groundbreaking young adult novels, The Hunger Games and Catching Fire, were both New York Times bestsellers, received wide praise, and garnered numerous starred reviews. Suzanne lives with her family in Connecticut. You can find her online at www.suzannecollinsbooks.com.

  COPYRIGHT

  Copyright (c) 2010 by Suzanne Collins

  Cover art by Tim O'Brien, (c) 2010 Scholastic Inc.

  Cover design by Elizabeth B. Parisi

  All rights reserved. Published by Scholastic Press, an Imprint of Scholastic Inc., Publishers since 1920. SCHOLASTIC, SCHOLASTIC PRESS, and associated logos are trademarks and/or registered trademarks of Scholastic Inc.

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  Library of Congress Cataloging-in-Publication Data is available

  First edition, September 2010

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  E-ISBN 978-0-545-31780-1