Log In; [18] Goes Out newsletter, with the week's best events, to help you explore and experience our city. The novels elegiac tone is encapsulated by the Museum of Civilization, where civilization refers to the bygone hyper-globalised world. 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. ", On what survives including a comic book treasured by several characters. Why in his life of frequent travel, had he never recognized the beauty of flight? If you can stick with it, you will be rewarded. One of the things that drove me away from The Walking Dead was the core characters lack of expertise and inability to problem-solve. The primary example of this is Shakespeare, specifically King The spectre of the 2008 economic crisis and ensuing recession does haunt the novel, in which 12 percent of the worlds shipping fleet lay at anchor off the coast of Malaysia, container ships laid dormant by an economic collapse (Mandel, 2014: 28). I confess I came to Station Eleven reluctantly. 21:1), frames the apocalyptic origin of the distinction between the elect and the non-elect at the core of the cults credo when fervently claiming that the survivors names are recorded in the book of life (Mandel, 2014: 286). WebStation Eleven is an American post-apocalyptic dystopian fiction miniseries created by Patrick Somerville based on the 2014 novel of the same name by Emily St. John Mandel.The miniseries premiered on HBO Max on December 16, 2021, and ran for ten episodes until January 13, 2022.. 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. Villainry arrives (via the most frightening performance Ive ever seen, from Daniel Zovatto as the stranger who insists on joining the Traveling Symphony otherwise your friends are going to start to disappear), along with the secret community known as the Museum of Civilisation. 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. American Literary History, 23(3): 48399. Station Eleven is a slow burn. Beauty features far more prominently in descriptions and memories of the pre-apocalypse. Learn exactly what happened in this chapter, scene, or section of Station Eleven and what it means. The ships were lit up to prevent collisions in the dark, and when she looked out at them she felt stranded, the blaze of light on the horizon both filled with mystery and impossibly distant, a fairy-tale kingdom (Mandel, 2014: 28). Published by 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 Skrimshire, S (Eds.) As Mark West points out in another article in this special issue, Clarks reflection addresses but rather miscasts the globalized trade networks in that it fetishizes the beautiful objects at the expense of the workers who make them, workers who are dehumanized into assemblies of working parts (note the emphasis on their hands) (2018: 19, 20). Born in the Boston area, educated at USC and an adoptive New Orleanian for nearly 10 years, he returned to Los Angeles in 2019 as the newsrooms television editor. Montral: McGill-Queens University Press. See, for instance, the state propaganda in Colson Whiteheads, There are varying degrees of dystopian post-apocalyptic scenarios: from, The world of the comic has suffered an apocalypse of its own: the space stations artificial sky was damaged during a war with the aliens that have taken control of the Earth so that Station Eleven has been in a state of perpetual twilight for fifteen years (, A similar alternation between pre- and post-apocalypse, which troubles the teleological linearity of apocalyptic history, can be found in Selfs, In this sense, it is interesting to note Hillary Chutes reflections on the form of comics in terms of their spatial gaps that subvert linearity: through its spatial syntax [of gutters, grids, and panels], comics offer opportunities to place pressure on traditional notions of chronology, linearity, and causality as well as on the idea that history can ever be a closed discourse, or a simply progressive one (. How does this style of storytelling affect the emotional impact of the narrative? Whats on the other side? How deeply strange it is, how deeply unsettling, to be able to compare and contrast a fictional pandemic with the real thing. 1. Cloud Atlas consists of six narratives set between the nineteenth century and a distant post-apocalyptic future. Chaudhary that stuck, as the series has it, to the surprises of just what happened, and so actualized our own collapsing civilization through burning houses and corpse jets and big box stores-turned-maternity wards. So yeah, there is a comic book that's drawn by a character in the present day. A finalist for both the National Book Award and the PEN/Faulkner, Emily St. John Mandels best-selling Station Eleven is set in the eerie days of civilizations collapse. ow deeply strange it is, how deeply unsettling, to be able to compare and contrast a fictional pandemic with the real thing. The scene in which a dozen women give birth was the before giving way to the future, just as all the scenes in which Miranda struggles to write Station Eleven were. I admit that it probably says something about where I am at right now that I wanted more of the disaster and less of the hope. What you call the present showcases people who are neither hero nor villain, except perhaps in their own minds, but they are artists. 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. The generation gap between those born before and after is gestured at but scarcely plumbed. 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). Cameron, C 2014 Station Eleven Offers Suspense and Science Fiction, but It Is Undoubtedly a Literary Work. Because in the now, the before is all we have. 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. Toronto: Anansi. She was the leader of a band of survivors not because she was a ruthless martial arts expert but because she continued to write symphonies, and understood that music and theater fulfill a deep-seated need. I was very deliberate in the timing of the narrative: its set mostly fifteen and twenty years after the collapse, not during or in the immediate aftermath (Mandel, 2015: n.pag.). Clark speaks to himself in bed next to Miles. (Sorry, it all always comes back to Lord of the Rings.) Because this is an epic quest and those kinds of stories make certain demands. TV Details Station Eleven has been a best seller. The following is from Emily St. John Mandels novel Station Eleven which was a finalist for a 2014 National Book Award. And I think it would be very easy to lose perspective and think that this was the entire world. The bulk of the series is set twenty years after a flu pandemic brought human civilization as we know it to an end. Even the guy who auditions by reciting Bill Pullmans speech from Independence Day believes. As Elizabeth Deeds Ermarth (1992) emphasises, if modernity is about the belief in the epistemic neutrality and objectivity of our representations, postmodernity is ultimately about foregrounding the constructedness of our representations and of neutrality itself. 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. Bernstein, M A 1994 Foregone Conclusions: Against Apocalyptic History. Both texts expose how apocalyptic discourse is fabricated to push ideological agendas. As Rachel explains, the sniper is deploying poetic devices, such as rhythm and regularity of speech, in order to have a stronger impact and to quickly and effectively indoctrinate (Coupland, [2010] 2011: 1878). Or more nuancedly, as Clark, a good friend of Arthurs, comments to Tyler: its not a question of having been bad or the people [who died] were just in the wrong place at the wrong time (Mandel, 2014: 260; ellipsis in original). 2 De Cristofaro: Critical Temporalities Published in 2014 to critical and popular success, Emily St. John Mandels Station Eleven is part of a widely-discussed, growing corpus of post-apocalyptic novels written by authors who do not typically write science fiction.1 In what Andrew Hoberek (2011) identifies as the genre turn of I read Emily St John Mandels bestselling Station Eleven shortly after it came out in 2014, when the tale of a mysterious flu sweeping the globe and laying waste to normal life lay wholly beyond the bounds of reality. Huntley, K 2014 Station Eleven: Booklist Review, August. 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. Immediately following the Second World War, there was a fashion show in Paris. For the thing with the new world is its just horrifically short on elegance (Mandel, 2014: 151). Goods travelled in ships and airplanes across the world. How Station Eleven pulled off the impossible, ALeague of Their Own review feelgood baseball drama still knocks it out the park, Point Break: Keanu Reeves and Patrick Swayze face off in surf-crime bromance, Orange is the New Black: season four will take over your life, without parole, ThePoint Break remake: Five rules to keep it young, dumb and you know, Emily St John Mandels bestselling Station Eleven. It's that I don't think that period would last forever everywhere on earth. It seemed at least plausible to me that there would eventually be some kind of hope. Secondly, the interruption of each story defers closure, and even the stories conclusions contain hints to the following narrative. While Station Eleven does not fall into the traps of the utopian teleology of traditional apocalyptic logic, which risks, in its determinism, legitimising oppressive power dynamics, the novel is too complicit with the current system and its exploitations. Theres nothing you cant survive, because theres nothing that you will not do (Mandel, 2014: 139). Feb. 26A BIG QUESTION keeps popping up on Manchester community groups on Facebook: What happened to the 7-Eleven gas stations on South Main and Maple streets? 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). By Richard As the season unfurled, though, I found myself frustrated by a structure that, roughly speaking, toggled between the pandemics onset and a time, 20 years on, in which Kirsten and her Traveling Symphony have forged a new society through the cyclical performance of plays. His co-stars can't remember if he had a family to notify. 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. Station Eleven has been a best seller. It won several major awards, was an NPR Books Concierge pick, and it's just come out in paperback. Post-apocalyptic ravaged aftermaths implicitly subvert the central element of apocalyptic discourse, that is, a sense-making utopian historical teleology. To believe that the series is guilty of doubtful creative choices is not to spurn art its to know what its capable of and to expect more of it. 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. who dies of a heart attack onstage as he plays King Lear in Toronto. Station Eleven replicates what Gomel identifies as the plague pattern, where there is no place for millenarian rebirth. Indeed, both Station Eleven and Player One emphasise how the teleological determinism and moral dualism of apocalyptic logic are self-referential narrative constructs which legitimise the oppressions and violence of those who articulate these narratives. After all, this end the death of Arthur, who ties together the various characters, and the apocalypse, which is the catalyst of the story has already been given at the beginning of the narrative. What I was really interested and writing about was what's the new culture and the new world that begins to emerge? According to Elana Gomel, plague narratives are structured by the logic of iterative mortality that undermines the teleological progression of the apocalypse. London: Picador. The Book of Revelation, the final book of the New Testament and the central text of religious apocalypticism, is ultimately not about the catastrophic end of the material world, but rather the revelation of a utopian new world, the New Jerusalem, the divine kingdom which awaits the faithful at the end of history.3 This utopian teleology is central to the Western understanding of time, indeed, [the apocalyptic] vision of history gives rise to history as a theoretical production (Keller, 1996: 89) and the traditional apocalyptic paradigm lies at the very core of secular Western modernity.4 The age of discovery and colonialism is informed by apocalyptic beliefs, as suggested by the trope of the new world (Keller, 1996). the Prophet, reconciles with his mother (Caitlin FitzGerald); graphic novelist Miranda Carroll (Danielle Deadwyler) meets her fate; Sarah (Lori Petty) shuffles off this mortal coil; and, most importantly, Kirsten (Mackenzie Davis as a adult, Matilda Lawler as a child) reunites with Jeevan (Himesh Patel), capping off one of the most finely wrought love stories in recent TV history. The only descriptions of the immediate aftermath Mandel gives her readers are through Jeevan, a paramedic who tries to help Arthur when he has a stroke on stage the night the pandemic begins. 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. As West writes, Station Eleven excuses a mindset in which problematic, even apocalyptic, systemic structures are minimized, rather than critiqued (2018: 20). As Jeevan describes it, this night, was going to be the divide between a before and an after, a line drawn through his life (Mandel, 2014: 20; emphasis in original). 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. Heffernan, T 2008 Post-Apocalyptic Culture. 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). Unlike with The Leftovers, Station Eleven was billed as a mini-series from the beginning, and Somerville doesn't seem interested in continuing the story. 37. It was about how art and culture can help people, and civilization, survive complete catastrophe. Mary McNamara: Given the spiritual undertones of the series, and the repetition of the sentence I remember damage. Derrida, J 1992 Of an Apocalyptic Tone Newly Adopted in Philosophy. DOI: http://doi.org/10.1057/9781137430144, Munslow, A 2006 Deconstructing History. Rather than reading for the end, Mitchell invites us to read Cloud Atlas looking for parallels and connections, from the comet-shaped birthmark that links the protagonists of the various stories to their acts of defiance against the predatory logic that brings humanity to the apocalyptic demise.11 Finally, the chronological ending of the novel the post-apocalyptic future is effaced through the actual ending of Cloud Atlas the nineteenth-century narrative which suggest that the future is not already written. This [the cults community at St. Deborah by the Water] is a place of order. The website's critics consensus reads, " Station Eleven rewards patient viewers with an insightful and thematically rich assertion thateven in the post-apocalypsethe show must go on." London: Sceptre. Time, Paul Ricoeur contends, becomes human time to the extent that it is organized after the manner of a narrative (1984: 3). It began to read to me as a tacit acknowledgement that its vision of the future is not as immersive as its vision of the present or past. 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? It won several major awards, was an NPR Books Concierge pick, and it's just come out in paperback. You know, it's interesting. Overall, Station Eleven can be initially read and understood as a very symbolic piece of literature, by emphasizing the meaning in objects from the past as a reminder and memory of life before the epidemic. 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. 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 In this section, I compare Station Elevens narrative structure with that of Mitchells Cloud Atlas.10 Both texts complicate the teleological linearity of apocalyptic narratives to make space for unwritten futures which are key to agency. The author has no competing interests to declare. Station Eleven self-reflexively emphasises this difference between traditional and contemporary apocalyptic imagination. Published in 2014 to critical and popular success, Emily St. John Mandels Station Eleven is part of a widely-discussed, growing corpus of post-apocalyptic novels written by authors who do not typically write science fiction.1 In what Andrew Hoberek (2011) identifies as the genre turn of contemporary fiction, the post-apocalyptic genre has moved from the margins (tacky science-fiction) into the mainstream (legitimate, widely-recognized and practiced speculative fiction) (Buell 2013: 9), so much so that Frederick Buell frames it as a cultural dominant.2 As Andrew Tate puts it, contemporary narrative is haunted by dreams of a future that is a place of ruin (2017: 2). But then why did the One Ring choose Frodo? One of the prophets followers, who dies revelling in Revelations promise of a new heaven and a new earth (Rev. 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. Available at: https://www.reddit.com/r/books/comments/38e15y/hi_im_emily_st_john_mandel_author_of_station/ [Last accessed 24 October 2018]. WebSee 10 photos and 3 tips from 190 visitors to 7-Eleven. If you can stick with it, you will be rewarded. Frankly I was grateful to skip all the store-looting and scavenging we are inevitably treated to in these kinds of tales. Her work has appeared in numerous anthologies, including The Best American Mystery 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). Perhaps it's wishful thinking on my part, but I did like the idea that a Shakespearean company might be able to make it. London: Bloomsbury. They were shown maps and globes, the lines of the borders that the Internet had transcended (Mandel, 2014: 262). Mandel, E S J 2015 Ask Me Anything. With the grown Kirsten serving, when necessary, as something like a one-woman militia, Station Eleven is not without its effective, if sometimes tonally jarring, genre thrills. "Virginia Lottery tickets are available for purchase here!" Keller, C 1996 Apocalypse Now and Then: A Feminist Guide to the End of the World. In the new miniseries "Station Eleven," it's two decades after a deadly flu pandemic, and global civilization has nearly collapsed. Miranda curtly rebukes Elizabeths apocalyptic belief that everything happens because it was supposed to happen by saying Id prefer not to think that Im following a script (Mandel, 2014: 106). Station Eleven. The Road is a recurrent point of comparison for Station Eleven in academic analyses and reviews alike (Tate, 2017: 13233; Alter, 2014; Huntley, 2014). Open Library of Humanities 4(2), If there are again towns with streetlights, if there are symphonies and newspapers, then what else might this awakening world contain? By the same token, Kirsten collect[s] fragments of Arthurs life as told in gossip magazines because they are signifiers of her past, of which she has few and disconnected memories (Mandel, 2014: 40). WebA summary of Part 7 in Emily St. John Mandel's Station Eleven. Backstories are filled in notably of Miranda (Danielle Deadwyler), Arthurs lover and the author of the graphic novel (called Station Eleven, but dont let the meta-ness put you off) that has been Kirstens lifeline over her 20 years of post-apocalyptic wandering. That we secretly desire a situation in which this entire apparatus is blown up and we all start over again on perfect equal footing. Berkeley: University of California Press. Miranda, Arthurs ex-wife, was unprepared for [the fleets] beauty. Mackenzie Davis, left, with Caitlin FitzGerald in Station Eleven., Do Not Sell or Share My Personal Information, Meet the cinematographer whose controlled naturalism is changing the face of TV, Station Eleven made major changes from the book. It's not that I don't think that there would be a period of absolute mayhem and chaos and horror. If traditional apocalyptic discourse is about time, contemporary post-apocalyptic discourse is also about time more specifically, it is about critical temporalities, constructions of time that critique a hegemonic temporality. 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.). De Cristofaro, D., 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. We try to make the world make sense for a minute, she explains to young Kirsten. But I also know that if any survivor owned a snowplow, he or she would use it because snowplowing is a calling and an art form in itself. 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. 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. Snow and stopped cars with terrible things in them. Boston: Beacon. Addressing this nexus, and through it the power dynamics and determinism embedded in teleology, the narrative structures of the contemporary post-apocalyptic novel articulate critical temporalities that invite us to conceive of narrative, and therefore of history, beyond the sense of an ending. Mitchell, D 2004 Cloud Atlas. The goal of traditional apocalyptic logic is to order time and make it intelligible, by disclosing that the whole course of human history is tending towards a final resolution which will make sense of everything that happened before. West, M 2018 Apocalypse Without Revelation? 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). 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? To take refuge in the art, dammit. 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). As she puts it, I assume that there would be a period of utter chaos immediately after an apocalyptic event, but I dont find it credible that that period would last forever (Griffith, 2015: n.pag.). 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