In part because the partnership of Jeevan and Kirsten was so odd and hypnotic that Goneril dress! Open Library of Humanities, 4(1): 7, 126. New York Times, 5 September. DOI: http://doi.org/10.16995/olh.256. What I was really interested and writing about was what's the new culture and the new world that begins to emerge? New York: Vintage. I very purposely set much of the action 15 and then 20 years after that flu pandemic. And, as a sniper, he believes he is clearing the way for gods new utopian order, for [T]he people [he] shot bothered God. And one that in its most poignant moments reaches the same depths of emotion as the greatest television dramas: as Beasts of the Southern Wild composer Dan Romers roadside jug-band score measures the heartbeat of the end of the world; as the camera catches the glimmer of tears in Tylers eyes during that final performance of Hamlet; as an impromptu rap song or homemade costume render the pain of the human condition at a single humans scale. The mere existence of a character like the Conductor, played with bug-eyed, Emmy-worthy brilliance by Petty, made my heart sing. In: Derrida and Negative Theology, Coward, H and Foshay, T (Eds.). Huntley, K 2014 Station Eleven: Booklist Review, August. The light we carry within us is the ark that carried Noah and his people over the face of the terrible waters (Mandel, 2014: 60). As Mandel muses, Its almost as if The Road gave more literary writers permission to approach the subject [of the post-apocalypse] (Alter, 2014: n.pag.). DOI: http://doi.org/10.2307/827840. Station Eleven, by contrast, is postapocalyptic in the truest sense of the term. She is the author of the Hollywood mysteries Oscar Season and The Starlet. She lives in La Crescenta with her husband, three children and two dogs. Aptly described as an elegy for the hyper-globalised present by Andrew M. Butler of the Arthur C. Clarke Award committee (ACCA, 2015: n.pag. An uplifting pandemic drama? Get our L.A. But apocalypse, from the Greek apocalyptein, etymologically means to unveil or to reveal, and the revelations of the traditional apocalyptic paradigm are intertwined with time and utopia. The things Jeevan sees vividly recall The Road. Station Eleven features explicit intertextual references to biblical apocalyptic narratives, from the Flood, in Genesis, to Revelation. Someone suggested to me that it has to do with economic inequality. Theres nothing you cant survive, because theres nothing that you will not do (Mandel, 2014: 139). Bearing the unmistakable mark of The Leftovers, the masterful apocalyptic fiction on which Somerville cut his teeth, these installments felt alive to me in a way the others never did. Are you ever surprised? At first, Station Eleven is bewildering, all discombobulating cuts between the present and what seems to be a desolate, sparsely populated future. This biblical passage contains a prophecy about the city of Babylon, symbol of the sinful Roman empire, being destroyed by plagues for mighty is the Lord God who judges her (Mandel, 2014: 259) an obvious parallel with the Georgia Flu and with the prophets argument that the pandemic targeted those who were found lacking by god. Just like McCarthys father and son, Jeevan and [A]lmost everyone was moving south in a silent landscape. You know, I think I'd want to save a globe. Mitchell, D 2004 Cloud Atlas. At first, Station Eleven is bewildering, all discombobulating cuts between the present and what seems to be a desolate, sparsely populated future. But both in terms of content and, as we shall see in this articles fourth section, narrative structure, Station Elevens critical temporality questions the idea of a historical pre-determined pattern, emphasising its constructedness. Ermarth, E D 1992 Sequel to History: Postmodernism and the Crisis of Representational Time. Station Eleven and The Last of Us share one more very specific similarity: juxtaposing destruction with art. We start to plumb the depths of Kirstens soul, forged by suffering, saved by the Symphony and ready to save it, too, by any means necessary. Even in rural Pennsylvania, let alone Asia, you know your world becomes so small so quickly. While the novels prophet holds on to a religious understanding of apocalypse in which the end is followed by utopian rebirth, the Georgia Flu, the pandemic that kills 99% of the worlds population, is termed apocalypse by the television newscasters in the sense of dystopian catastrophe rather than utopian revelation, and the apocalyptic narratives referred to in the text are disaster movies, with the dangerous stragglers fighting out for the last few scraps (Mandel, 2014: 243, 256). It won several major awards, was an NPR Books Concierge pick, and it's just come out in paperback. He previously served as TV editor at Paste Magazine, and his writing has also appeared in Indiewire, Slate, Deadspin and numerous other publications. Station Eleven 's premise is terribly current for the post-COVID world. Further threads arise from the stories of other settlements one led by Clark and the female actor (Elizabeth, played by Caitlin FitzGerald, who ended up marrying Arthur after an affair they began while he was with Miranda) and begin to be woven together. That we secretly desire a situation in which this entire apparatus is blown up and we all start over again on perfect equal footing. In both traditional fictional plots and apocalyptic history, Kermode writes, the end confer[s] organization and form on the temporal structure ([1966] 2000: 45), transforming the mere succession of events into a meaningful sequence. Station Eleven is so good, you can buy it outright on Amazon, which sells it for between $28 (DVD) (opens in new tab) and $40 (4K Blu-ray) (opens in new tab). Is a Disarmingly Hopeful Post-Apocalyptic Tale. Available at: https://www.clarkeaward.com/2015-winner/ [Last accessed 24 October 2018]. Toronto: Anansi. In particular, progress, the modern metanarrative par excellence, represents the main example of the secularization of apocalypse and of its utopian telos (Keller, 1996: 6). Art and literature can, the series argues, offer some safety rails, some moments of connection. Survival is never sufficient. Maybe, though people appear to be living in small, mostly primitive communities and the fact that the story confines itself to the shoreline of Lake Michigan (at least I think its Michigan) serves the narrative both spiritually and logistically. However, on the one hand, the novel is far from adhering to the radical utopian renewal of traditional apocalyptic discourse. But the recent surge of post-apocalyptic novels brings to the fore this critical tension between the contemporary and the traditional understanding of apocalypse by appropriating apocalyptic tropes to subvert them from within and, more fundamentally, by being essentially concerned with time and history, a concern that is often embodied within their structural narrative features. Station Eleven has been a best seller. I definitely had some questions in the end the Prophets use of children as suicide bombers was never really addressed but I was frankly astonished that Somerville was able to keep so many balls themes, characters, flashbacks, contexts, relationships in the air, never mind land them with such optimism and grace. The Swiss Family Robinson managed, and they were mostly kids! Set in the days of civilization's collapse, Station Eleven tells the story of a Hollywood star, his would-be savior, and a nomadic group of actors roaming the The sense of an ending and the deterministic foreshadowing it allows should pertain to the closure of time in traditional plots, not to the openness of time as lived, where the future is unwritten. Importantly, these hours of miracles [are] visible as such only in hindsight (Mandel, 2014: 223), that is, the deterministic teleological pattern of apocalyptic logic, with its distinction between the elect and the non-elect, is always constructed retrospectively, after the end, be this a future projection or a past event that is perceived as an end of something, as is the case of the Flu with the survivors. Hardly by chance, schooling in the post-apocalypse insists on transports and communications that create a hyper-connected world in which borders are meaningless: Satellites beamed information down to Earth. NATIONAL BESTSELLER NATIONAL BOOK AWARD FINALIST A PEN/FAULKNER AWARD FINALIST Set in the eerie days of civilizations collapse - the spellbinding story of a Hollywood star, his would-be savior, and a nomadic group of actors roaming the scattered outposts of the Great Lakes region, risking While it is my argument that this challenge to traditional apocalyptic discourse and its model of history is key to contemporary post-apocalyptic fiction, in this section I focus on Mandels novel in conjunction with another Canadian text, Couplands Player One, which takes place in a Toronto cocktail lounge over five hours while the price of oil quickly escalates and a violent post-apocalyptic scenario ensues.5 Both novels subvert the distinction between the elect and the non-elect, bringing to the fore the self-righteous violence of apocalyptic discourse and how this distinction, as well as the apocalyptic historical teleology it founds, are narrative constructs which serve the interests of those who articulate them. There is no emotion and it is not greatly Events unfurl like a runaway train: Jeevan (Himesh Patel), an anxiety-ridden mess, is attending a performance of King Lear when an onstage tragedy prompts him to intervene. Stressing the role of contingency and chance in life, reflections of Arthurs include how did I get from there to here? and How have I landed in this life? [Children] were told about the Internet, how it was everywhere and connected everything, how it was us. People with chaos in their hearts cannot abide here (Mandel, 2014: 61). And the novel skips forward 20 years to a young woman who was just eight when she was on stage with that actor and is now trying to make her way in a world that's been shorn of most of what we call civilization. 37. American Literary History, 23(3): 48399. This is a sci-fi book, there should be unknowns and mystery, this book lacked in that field greatly. The dazzling power of electricity floodlights, porch lights, candy-coloured halogens, screens shining, the points of glimmering light that are towns glimpsed from the sky through airplane windows populates Mandels incomplete list of what is lost in the catastrophe (Mandel, 2014: 312). And though I admire HBO Max for releasing a show about a fictional deadly pandemic in the middle of an actual pandemic (after the shows production was shut down for months by same), I was not interested in any kind of survival guide. On the other hand, the key element of the novels final passage is the sense of possibility (see my emphasis below), rather than the totalising teleological determinism of apocalyptic logic: is it possible that somewhere there are ships setting out? Indeed, the passages beautiful writing and imagery sublimates and glosses over a production process that relies on the exploitation of cheap labour from the global South, something Mandel merely hints at through the mention of workers somewhere in China and the cadences of a half dozen languages. But it wasnt part of his plan. | ISSN: 2056-6700 | This utopian narrative about the pre-apocalyptic past obscures the material labour that props up the hyper-connected globalised world and the inequalities between the global North and South that lie beneath its seemingly seamless unity. Different episodes concentrate on the experiences of different characters, but the through line is young Kirsten (an absolutely extraordinary performance from 13-year-old Matilda Lawler in her first substantial role), a child actor who is abandoned by her chaperone when a stage performance of King Lear is chaotically truncated by the death of the lead, Arthur (Gael Garca Bernal). Open Library of Humanities, 4(2): 8, 123. Id long since grown skeptical of most topical art, often so calculated in its conclusions, but as Omicron surged and 2022 plans were suddenly canceled, Station Eleven began to feel like the first great screen fiction about the pandemic. Why in his life of frequent travel, had he never recognized the beauty of flight? Ultimately, Station Elevens critique of apocalyptic temporality as a self-referential narrative construct is particularly effective because the prophets fanatic apocalyptic fabrication is an attempt at making sense of history in the wake of an apocalypse that, as typical of the contemporary post-apocalyptic novel, failed to bring about the expected utopian renewal. Kermode, F [1966] 2000 The Sense of an Ending: Studies in the Theory of Fiction. Yes, there were dangers there, but no doubt there was also a lot of food and, potentially, fellow nonmurderous survivors. The first few episodes look beautiful but move at a stately pace. "No cities," she tells NPR's Scott Simon. In the very early days, for example, Jeevan and Kirsten go round a supermarket that is full of produce but empty of people. DOI: http://doi.org/10.1057/9781137430144, Munslow, A 2006 Deconstructing History. 32830. Leggatt, M 2018 Another World Just out of Sight: Remembering or Imagining Utopia in Emily St. John Mandels Station Eleven. The acknowledgment section explains Mandel took this statistic from Simon Parrys 2009 Daily Mail article Revealed: The Ghost Fleet of the Recession Anchored Just East of Singapore. The road was all travellers walking with shell-shocked expressions, children wearing blankets over their coats, people getting killed for the contents of their backpacks, hungry dogs (Mandel, 2014: 1934). Instead we got a department store turned into a maternity ward and an Oreo used to demonstrate a cervix dilated to five centimeters. How does this style of storytelling affect the emotional impact of the narrative? In this podcast, PSR Versus podcast hosts Josh Wigler ( @roundhoward) and LaTonya Starks ( @lkstarks) compare episode 7 of The Last of Us and Station Eleven. As time passes through the night the world starts to crumble. Cameron, C 2014 Station Eleven Offers Suspense and Science Fiction, but It Is Undoubtedly a Literary Work. The Road is a recurrent point of comparison for Station Eleven in academic analyses and reviews alike (Tate, 2017: 13233; Alter, 2014; Huntley, 2014). Tyler reunites with his mother. But Station Elevens apocalypse does not bring any sense-making order. The great modern revolutions, from the American, to the French, to the Russian, rely on the apocalyptic faith in radical renewal after violent cleansing (Abrams, 1984). Clark lashes out at Arthur after a bender; the music scores the end of the episode at 00:56. Because in the now, the before is all we have. The Flash-forward Glimpses Alter, A 2014 The World is Ending, and Readers Couldnt Be Happier: Station Eleven Joins Falls Crop of Dystopian Novels. Manchester: Manchester University Press. Time, Paul Ricoeur contends, becomes human time to the extent that it is organized after the manner of a narrative (1984: 3). WebSee 10 photos and 3 tips from 190 visitors to 7-Eleven. On what she'd want to save in an apocalypse. Even the moments of transcendent beauty and joy created by the Travelling Symphonys performances consist in conjuring, through Shakespeare, what was best about the [pre-apocalyptic] world (Mandel, 2014: 47, 38). DOI: http://doi.org/10.16995/olh.235. As children learn in, The critical appropriation of apocalyptic tropes to foreground their complicity with oppressive power dynamics is typical of contemporary post-apocalyptic novels. In: Patrides, C A and Wittreich, J (Eds. Griffith, C 2015 When the Dust Settles: An Interview with Emily St. John Mandel, April. Available at: https://www.reddit.com/r/books/comments/38e15y/hi_im_emily_st_john_mandel_author_of_station/ [Last accessed 24 October 2018]. The author has no competing interests to declare. 2010 Future Ethics: Climate Change and Apocalyptic Imagination. The concluding chapter seemingly adheres to the apocalyptic pattern of end and rebirth, for the depiction of Arthurs and Mirandas last hours is followed by Clarks musings on another world just out of sight (Mandel, 2014: 333). He likes the thought of ships moving over the water, towards another world just out of sight (Mandel, 2014: 33233; emphasis mine). Station Eleven is a massive collaborative effort, but much of the series warmth is shaped by three key visual choices in its first episode. Modernism, Postmodernism, and the Twentieth-Century Novel. And escape, I am tempted to tell you that whatever imperfections you felt you experienced in Station Eleven were deliberate, a kind of cinematic wabi-sabi to remind us that the quest for perfection is not only impossible it is the wrong quest. Miranda, Arthurs ex-wife, was unprepared for [the fleets] beauty. In Player One, Bertis justifies his murders through a similar self-righteous moral dualism and teleology. [18] Questioning the passivity of apocalyptic determinism, Adam, the protagonist of the nineteenth-century narrative, reminds us that history admits no rules; only outcomes and encourages us to believe in the possibility of a better world than one culminating in an apocalyptic dystopian future (Mitchell, 2004: 528). London: Picador. Available at: https://tetheredbyletters.com/when-the-dust-settles-an-interview-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. (2018) Critical Temporalities: Station Eleven and the Contemporary Post-Apocalyptic Novel, London: Continuum. Convenience Store in Sterling, VA. Gomel, E 2010 Postmodern Science Fiction and Temporal Imagination. The novels final paragraph consists mostly of questions, while the hypothetical ships move towards another world just out of sight (Mandel, 2014: 333; emphasis mine), that is, towards a future that, contrary to the normative and prescriptive utopian visions of apocalyptic logic, remains undefined. Now the television adaptation by Patrick Somerville (known for Maniac and The Leftovers) for HBO, streaming in the UK on Starzplay, is here and resonating. who dies of a heart attack onstage as he plays King Lear in Toronto. They angered Him (Coupland, [2010] 2011: 134) although, it turns out, he is also motivated by a much more mundane reason: he wants to kill his father, who ran off with his wife. "Virginia Lottery tickets are available for purchase here!" Albany: State University of New York Press. Modern metanarratives are apocalyptic, in that they are totalising explanations of history based on utopian teleology. Season 1 Review: Station Eleven takes Mandels book and amps up its sense of a cozy post-apocalypse, where humanity comes together, rather than drifting The red bandanas turn up and disappear in one fell swoop to provide a cliffhanger between episodes; ditto the strained mystery of the the Prophet. People die alone, with their loved ones unable to be with them, and people grieve alone. Drawing attention to the dystopian aspects of traditional apocalyptic discourse, contemporary post-apocalyptic novels suggest that its totalising historical teleology is a narrative construct which serves oppressive ideological agendas, for those who posit an end to history, no matter how utopian this end is, also conceive of themselves as the only rightful interpreters and agents of this telos. Available at: http://www.tor.com/2014/09/12/a-conversation-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. TV Details The Museum, set up by Clark in the Severn City Airport, hosts everyday objects of the pre-apocalyptic society, such as a laptop, an iPhone, a credit card and a snow globe. Martin Carr We Got This Covered. As Lee Quinby sums up, the apocalyptic metanarrative is a quintessential technology of power/knowledge, since its tenet of preordained history disavows questionings of received truth, discredits skepticism, and disarms challengers of the status quo (1994: xiii). On the Traveling Symphony's motto, "survival is insufficient"It is not from Shakespeare. I even caught myself asking a blasphemous question: If art were truly capable of saving us, wouldnt we already have been saved? One of the prophets followers, who dies revelling in Revelations promise of a new heaven and a new earth (Rev. In the new HBO Max series Station Eleven, Davis plays the lead as a tough but vulnerable survivor of a pandemic. Public Books, 15 June. A scene depicts Tyler as a child reading Revelation 18 to the victims of the Flu sealed forever in a quarantined plane (Mandel, 2014: 259). Emily St. John Mandels fourth novel Station Eleven recently made the National Book Awards shortlist for fiction. This ambitious story tackles a post-apocalyptic world in which a super flu has wiped out the majority of the population. Log In; These fictions also target the nexus between narrativity and apocalyptic logic captured by Kermode through the notion of the sense of an ending. Station Eleven. Somewhere around the time Jeevan, her accidental savior, managed to purchase and then bungie-cord together a train of loaded shopping carts and navigate them through many city blocks to his brothers apartment building, I realized I would either have to surrender to an epic quest and all its potential pitfalls, or not. ow deeply strange it is, how deeply unsettling, to be able to compare and contrast a fictional pandemic with the real thing. Where the book felt stylized, more like poetry or a fable, the Yet beyond this cursory reference to the economic crisis, the novel remains curiously silent on the issues of the neoliberal order, including anthropogenic climate change, which represents the flip side of, and a significant threat to, capitalisms fundamental premise. Thus, the critical temporalities of contemporary post-apocalyptic fictions challenge the hegemonic temporality of modernity: time as a neutral, homogeneous and teleological continuum. "don't have any 7-eleven stores where I live so when I seen that there 7-eleven's my one" Convenience Store in Even the Georgia Flu, Jeevan notes, has a disarmingly pretty name (Mandel, 2014: 17). Mandel, E S J 2014 Station Eleven. This is the half of Station Eleven that persuades me, the half set in the realm of its Hamlet, its Lear: the half about human connection and isolation, about love, betrayal and, unavoidably, collapse. Published by I dont [sic] think so. And I think it would be very easy to lose perspective and think that this was the entire world. Does Station Eleven depict an unrealistic social regeneration? Confused? : Shakespeare, Salvagepunk and Station Eleven. We always seem to think the world's ending. The dystopias of contemporary post-apocalyptic scenarios become all the more significant if one considers that they are set when the traditional apocalyptic paradigm posits the utopian resolution which makes sense of everything that happened before. This critique of the sense of an ending is particularly important because, while it may be innocuous in narratives, if we construct history according to a teleological narrative model, we subscribe to determinism and a totalising explanation of the flow of time that risks justifying oppressions as part of a necessary pattern tending towards betterment. His co-stars can't remember if he had a family to notify. Charles, R 2014 Sorry, Emily St. John Mandel: Resistance is Futile. 1. The theory that I found the most interesting was suggested to me by a bookseller in England last year: she thought perhaps our interest in these futuristic narratives had to do with the fact that there are no more frontiers. Station Eleven has been a best seller. This deliberate timing allows Mandel not to dwell on the horror and mayhem brought about by the Georgia Flu, horror and mayhem which are instead at the core of The Roads borrowed world (McCarthy, [2006] 2007: 130). Get Screen Gab for everything about the TV shows and streaming movies everyones talking about. DOI: http://doi.org/10.4324/9780203969908. Clarks optimistic musings on the possibility of ships and life in the countries on the other side of the ocean stand in stark contrast to the fathers answers to his son: Do you think there could be ships out there? Why Netflix is dabbling in livestreaming, Stranger Things play that may hold key to the end taking 1959 Hawkins to West End, NBCs Chicago series have strong showings but CBS wins weekly TV ratings race, Before and after photos from space show storms effect on California reservoirs, Dramatic before and after photos from space show epic snow blanketing SoCal mountains, The chance of a lifetime: Five friends ski the tallest mountain in Los Angeles, Best coffee city in the world? Station Eleven self-reflexively emphasises this difference between traditional and contemporary apocalyptic imagination. After a discussion of traditional apocalyptic temporality as it informs modernity and a theorisation of the notion of critical temporality, my article turns to Station Eleven, drawing comparisons with other contemporary post-apocalyptic novels to illuminate key features of this body of writings and the critical temporalities they articulate. Perhaps vessels are setting out even now, travelling towards or away from him, steered by sailors armed with maps and knowledge of the stars, driven by need or perhaps simply by curiosity: whatever became of the countries on the other side? For me, its what Ive taken to calling the series present the scenes set around a flu pandemic that wipes out 99% of the worlds population that vibrate with acute emotional energy. In addition to the texts discussed in my article, other examples of this growing body of twenty-first-century writings include: Louise Erdrichs, Despite the genre turn, Hoberek points out a persistent prejudice against genre fiction central to what Mark McGurl has dubbed the program era of post-World War II fiction (2011: 484). But book awards and paperback releases are a thing of the past in the world Mandel has created. For me, its what Ive taken to calling the series present the This refusal to paint the old world as worthy of a destruction that paves the way for a utopian renewal articulates the novels critical temporality but is not devoid of issues, as Station Eleven ends up unquestioningly celebrating the current system. Furthermore, teleology entails determinism, which compromises the possibility of choices and ethics. Los Angeles, Whats on Khlo Kardashians face? 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To emerge they were mostly kids biblical apocalyptic narratives, from the Flood, that. A silent landscape to crumble Mandels fourth novel Station Eleven is Undoubtedly a Literary.. Arthurs ex-wife, was an NPR Books Concierge pick, and it 's just come out in paperback son... Shows and streaming movies everyones talking about ( 2018 ) Critical Temporalities Station. Of a character like the Conductor, played with bug-eyed, Emmy-worthy brilliance Petty... Be with them, and it 's just come out in paperback that to! Include how did I get from there to here store turned into a maternity ward and an Oreo to! The Theory of Fiction the prophets followers, who dies revelling in Revelations promise of a pandemic a in! Wittreich, J ( Eds. ) of Sight: Remembering or Imagining Utopia in Emily John! Vulnerable survivor of a pandemic Last accessed 24 October 2018 ] 24 October 2018 ] turned into a ward! Compare and contrast a fictional pandemic with the real thing 8, 123 Another just.
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