Something that came up for me as I was writing this book was how incredibly local your world would become. 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. 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. You know, it's interesting. 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. You know, I think I'd want to save a globe. Globe and Mail, 12 September. The mere existence of a character like the Conductor, played with bug-eyed, Emmy-worthy brilliance by Petty, made my heart sing. What would make life still worth living after the collapse of civilisation? Why, I kept asking myself, are they still living on the ground? WebFairfax County Fire And Rescue Department Station 31 - Fox Mill 2610 Reston Parkway Herndon, VA. Fairfax County Fire And Rescue Department Station 36 - Frying Pan 2660 You know because, mayhem is not a terribly sustainable way of life. 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. Miranda, Arthurs ex-wife, was unprepared for [the fleets] beauty. If you can stick with it, you will be rewarded. These gaps keep spaces of possibility open in the novels structure, indicating Mitchells intention to debunk apocalyptic determinism and narrative foreshadowing. DOI: http://doi.org/10.2307/827840. DOI: http://doi.org/10.1080/00111619.2017.1369386. 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. There was no place on Earth that was too far away to get to. Gomel, E 2000 The Plague of Utopias: Pestilence and the Apocalyptic Body. Just like Bertis, Tyler uses contrived rhythms and repetition in his speeches, so much so that Kirsten notes a suggestion of a trapdoor waiting under every word [of his] (Mandel, 2014: 59). Last year, as we all scrambled to create some sort of context for the COVID-19 pandemic, Mandel got all sorts of what does it feel to have predicted the future? questions, which seemed very unfair. Now that that's all mapped and charted out and there are no more frontiers that's left us with a certain restlessness, that I suppose gets channeled into our interest in this futuristic, speculative fiction. The apocalypse is such a gap: we do not know what happened, just as in The Road, and this in itself challenges the sense-making function of the end in both apocalyptic history and traditional narratives. Station Elevens plot itself consists of fragments from before and after the apocalypse, which challenges the teleological linearity of apocalyptic temporality. It is in the context of what Heather J. Hicks, in her study of the twenty-first-century post-apocalyptic novel, discusses as an unprecedented outpouring of fully developed post-apocalyptic narratives by major, critically acclaimed anglophone [sic] writers (2016: 56) that my article situates Station Eleven. 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. The first few episodes look beautiful but move at a stately pace. But book awards and The critical temporalities of the contemporary post-apocalyptic novel not only expose the apocalyptic conception of history as a narrative construct enmeshed within power structures through their critical appropriation of religious apocalyptic tropes and the subversion of utopian teleology, but, through their structures, these fictions challenge what is an essentially apocalyptic model of narrative dominated by the end and invite us to conceive of history beyond the determinism of the sense of an ending. 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. As West writes, Station Eleven excuses a mindset in which problematic, even apocalyptic, systemic structures are minimized, rather than critiqued (2018: 20). WebSee 15 photos and 3 tips from 556 visitors to 7-Eleven. 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. Tate, A 2017 Apocalyptic Fiction. Ive spent the entire season trying to reconcile the above with my deep and abiding affection for the episodes Hurricane, The Severn City Airport, Goodbye My Damaged Home, Dr. In: Derrida and Negative Theology, Coward, H and Foshay, T (Eds.). 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. Get Screen Gab for everything about the TV shows and streaming movies everyones talking about. Station Eleven has been a best seller. This is a reference to Revelation 20:1115: during the Last Judgment, people are judged according to their deeds, which are written in books, and only those whose name is in the book of life will be allowed to dwell with god in the new heaven and earth of the New Jerusalem. I dont [sic] think so. 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. 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.). This staunch rebuttal of apocalyptic determinism through the emphasis on the role that chance plays during the pandemic is echoed when Clark describes the period of contagion as a choreography of luck, the hours of near misses, of coincidence[s] (Mandel, 2014: 223, 224). On the recent popularity of post-apocalyptic fictionA suggestion that I hear quite often is that our interest in post-apocalyptic fiction is a natural expression of the anxiety we feel. Station Eleven has been a best seller. This is a sci-fi book, there should be unknowns and mystery, this book lacked in that field greatly. One of the things that drove me away from The Walking Dead was the core characters lack of expertise and inability to problem-solve. 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. Still, my sense that the series is too Pollyanna-ish for its own good that its conclusions about the uses of art in the world are ultimately unearned stems from the fact that these sections are often dramatically inert to begin with. The apocalyptic distinction between the elect and the non-elect fuels the ruthless actions of the prophet and his followers from killing to raping and enslaving which they commit [A]ll the time smiling, so peaceful, like theyve done nothing wrong (Mandel, 2014: 273), because they see themselves as the only rightful interpreters and agents of the apocalyptic goal of history, the utopian renewal of the new world. The author has no competing interests to declare. 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 Notice, in this sense, Clarks musings on the snow globe housed in the Museum. 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). The series creator explains why. I confess I came to Station Eleven reluctantly. Last year, as we all scrambled to create some sort of context for the COVID-19 pandemic, Mandel got all sorts of what does it feel to have predicted the future? questions, which seemed very unfair. Confronted with Bertis preaching, the other characters of Couplands novel notice that the way Bertis talks is weird (Coupland, [2010] 2011: 187). Because in stretches the first comes achingly close to being a masterpiece. These are elevated by the catastrophe to the status of artworks, beautiful objects which move Clark because of the human enterprise each object had required (Mandel, 2014: 255). And during the montage of embraces between Jeevan and Kirsten near the end of Dr. I remember describing the premise of the novel to my husband, and he said, "People would want what was best about the world. (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. New York: Vintage. Of course you hope in a scenario like this, what would survive would be the Beethoven symphonies, the Shakespeare plays, the things that we think of as the highest and most exalted expressions of our culture. 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. 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. Abrams, M H 1984 Apocalypse: Theme and Variations. The following contains spoilers from the season finale of Station Eleven.. Since its debut last month, Station Eleven has drawn both acclaim (from critics including our own Robert Lloyd) and criticism (from fans of the novel on which its based, which it changes in key ways). And the reason for that is that I feel that most dystopian fiction tends to dwell on that immediate aftermath of horror and mayhem. 1. London: Picador. Cambridge: Cambridge University Press. Survival is never sufficient. However, on the one hand, the novel is far from adhering to the radical utopian renewal of traditional apocalyptic discourse. And, looking back to his past towards the end of his life, a retrospection that by definition should allow the sense of an ending to emerge, Clark does not see any meaningful order but only a series of photographs and disconnected short films (Mandel, 2014: 279). Station Eleven repeatedly emphasises that there is no deterministic pattern to time, contrary to what apocalyptic logic affirms. Martin Carr We Got This Covered. Station Eleven replicates what Gomel (2000: 408) identifies as the plague pattern, where there is no place for millenarian rebirth. 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. 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. Furthermore, teleology entails determinism, which compromises the possibility of choices and ethics. Instead of examining all the light/dark political dynamics of rebuilding a post-catastrophe society, it concedes that capturing mass trauma is impossible and potentially unhelpful. | Privacy Policy |, Publication Ethics and Malpractice Statement, http://www.nytimes.com/2014/09/06/books/station-eleven-joins-falls-crop-of-dystopian-novels.html, http://www.theglobeandmail.com/arts/books-and-media/book-reviews/station-eleven-offers-suspense-and-science-fiction-but-it-is-undoubtedly-a-literary-work/article20577909/, https://www.washingtonpost.com/news/arts-and-entertainment/wp/2014/10/15/sorry-emily-st-john-mandel-resistance-is-futile/, http://doi.org/10.1080/00111619.2017.1369386, https://tetheredbyletters.com/when-the-dust-settles-an-interview-with-emily-st-john-mandel/, http://www.publicbooks.org/the-post-apocalyptic-present/, https://www.booklistonline.com/Station-Eleven-Emily-St-John-Mandel/pid=6862248, https://www.reddit.com/r/books/comments/38e15y/hi_im_emily_st_john_mandel_author_of_station/, http://www.tor.com/2014/09/12/a-conversation-with-emily-st-john-mandel/, Special Collection: Station Eleven and Twenty-First-Century Writing, For the sake of simplicity, in what follows contemporary post-apocalyptic novel refers to the subject of this article, post-apocalyptic fictions written by non-SF authors. Station Eleven and The Last of Us share one more very specific similarity: juxtaposing destruction with art. Someone suggested to me that it has to do with economic inequality. To take refuge in the art, dammit. 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 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). 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. Secondly, the interruption of each story defers closure, and even the stories conclusions contain hints to the following narrative. If one of the precepts of the series own holy text, a graphic novel, is show, dont tell, it seems to me indicative of the series strengths that its most moving moments feature spliced-in images, memories, of the characters former selves. Despite the tidy conclusion, I can only hope creator Patrick Somerville and HBO Max are in negotiations for a second season. While The Roads passages signify the critique of utopian teleology through a hopeless dystopian scenario in which we find an entropic dissolution, Station Elevens ending subverts utopian teleology through speculations. WebStation Eleven contains many explicit references to other works of art, and relies on them heavily for source material. I focus on three elements: one, Station Elevens critical appropriation of religious apocalyptic logic, which I discuss in parallel with Douglas Couplands Player One (2010); two, the depiction of the aftermath of the Georgia Flu and Station Elevens critique of utopian teleology, which I discuss in parallel with Cormac McCarthys The Road (2006); and, three, Station Elevens non-linear narrative structure, which I discuss in parallel with David Mitchells Cloud Atlas (2004). Audience member Jeevan (Himesh Patel) tries to take her home, but they are overtaken by the collapse of civilisation and begin their new life navigating the disaster together. London: Windmill. I in fact stole it shamelessly from Star Trek: Voyager. As he puts it, if youre not plotting every moment to boil the carcass of the old order, then youre wasting your day (Coupland, [2010] 2011: 189). ow deeply strange it is, how deeply unsettling, to be able to compare and contrast a fictional pandemic with the real thing. Goes Out newsletter, with the week's best events, to help you explore and experience our city. For me, its what Ive taken to calling the series present the Rather than stressing the end, the emphasis is on the present and its ethical value, as the moment in which individuals take choices that inform the future. 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. The primary example of this is Shakespeare, specifically King In the very early days, for example, Jeevan and Kirsten go round a supermarket that is full of produce but empty of people. 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). Oxford: Oxford University Press. ), Moving Targets. 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. McCarry, S 2014 I want It All: A Conversation with Emily St. John Mandel, 12 September. Plymouth: Lexington. Available at: http://www.tor.com/2014/09/12/a-conversation-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. 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). The first few episodes look beautiful but move at a stately pace. London: Continuum. 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. Mackenzie Davis, left, leads the sprawling cast of HBO Maxs (post-)apocalyptic series Station Eleven.. 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). You seem to get reborn almost every time you leave the house, says Arthurs best friend, Clark (David Wilmot, another mesmerising turn), after listening to a California female actor be an excessively California female actor over dinner for too long. 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). Like Hicks, I argue that the contemporary post-apocalyptic novel addresses the nature of modernity (2016: 4); unlike Hicks, I argue that these fictions do so to critique, rather than to salvage, modernity, and specifically, to critique the apocalyptic understanding of time underlying Western modernity through what I term critical temporalities. Previously she was assistant managing editor for arts and entertainment following a 12-year stint as television critic and senior culture editor. Events unfurl like a But then why did the One Ring choose Frodo? One Fine Morning by Bill Callahan (00:51): Tyler concludes a conversation with Kirsten. If there are again towns with streetlights, if there are symphonies and newspapers, then what else might this awakening world contain? Station Elevens structure similarly articulates a critical temporality that complicates the sense of an ending. WebStation Eleven Questions and Answers - Discover the eNotes.com community of teachers, mentors and students just like you that can answer any question you might have on Station Eleven Search this site Consider the white gloves on the hands of the woman who inserted the snow globes into boxes, to be packed into larger boxes, crates, shipping containers. Charles, R 2014 Sorry, Emily St. John Mandel: Resistance is Futile. Ermarth, E D 1992 Sequel to History: Postmodernism and the Crisis of Representational Time. I even caught myself asking a blasphemous question: If art were truly capable of saving us, wouldnt we already have been saved? Mandel, E S J 2015 Ask Me Anything. 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). I hadnt read the book, so I had no idea what I was in for, but I certainly was not prepared for a very young Shakespearean actress trotting around snowy Chicago in her young Goneril costume as the world collapsed. They discuss both shows and recap the events of Station Eleven, then halfway into the podcast, set the two shows against each other in a head-to-head battle. 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.). 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? Station Eleven , the HBO Max show whose finale airs Thursday, is something else entirely. Her work has appeared in numerous anthologies, including The Best American Mystery Apocalyptic writings, ever since their religious origins, have flourished at times of crisis and [I]t is to this disquieting sense of disorder that the apocalyptic myth speaks, reasserting teleological design and cosmic meaning (Rosen, 2008: xviii). doi: https://doi.org/10.16995/olh.206, Download XML But series creator Patrick Somerville had her blessing to change it. I remember watching that episode and I remember being absolutely struck by that line. 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. The improbability of it, muses Clark, who is echoed by Kirsten reminiscing about the urban landscape seen from a plane at night: clusters and pinpoints of light in the darkness, scattered constellations linked by roads or alone. Kermode, F [1966] 2000 The Sense of an Ending: Studies in the Theory of Fiction. Why in his life of frequent travel, had he never recognized the beauty of flight? Both Tyler and Bertis exhibit traits of what Catherine Keller identifies as the apocalypse pattern (1996: 11): the faith in historical determinism, the inclination to think in terms of clear-cut polarities of good versus evil and the identification with the good that purges the evil from the old world and is worthy of the imminent utopian renewal of the new world. Emily St. John Mandel's new novel, Station Eleven, opens with a vain actor and is there really any other kind? Clark speaks to himself in bed next to Miles. The narrative moves literally and metaphorically away from the road the actual road of the first post-pandemic years as well as McCarthys The Road. Skrimshire, S (Eds.) Herein lies its critical distance from the utopian teleology of the traditional apocalyptic paradigm. Indeed, as opposed to analyses of the contemporary apocalyptic imagination that interrogate its relationship with the current socio-historical conjunctures traumas and risks, especially environmental risks (Berger, 1999; Mousoutzanis, 2014; Skrimshire, 2010), I contend that to understand the contemporary post-apocalyptic novel we need to consider the very core of the apocalyptic imagination: time. It wasnt like that. Are you supposed to be? Cloud Atlas consists of six narratives set between the nineteenth century and a distant post-apocalyptic future. The Georgia Flu, the prophet claims, was our flood. Station Elevens ending is key to the texts deconstruction of utopian teleology. Thus, one might suggest that Mandels book describes an apocalypse that already happened in 20082009: it is a novel not about a post-apocalyptic future but a post-apocalyptic present, for the ships embody the breakdown of capitalisms fundamental premise of eternal growth (Hoberek, 2015: n.pag.). The prophets image of the pandemic as an avenging angel (Mandel, 2014: 60, 286) echoes Revelation 1516, where the seven bowls of gods wrath are unleashed on the Earth by seven angels. Alter, A 2014 The World is Ending, and Readers Couldnt Be Happier: Station Eleven Joins Falls Crop of Dystopian Novels. Traditional apocalyptic narratives reveal a utopian teleology to history, a conception of time that deeply informs western modernity and its metanarratives. However, Station Elevens post-apocalyptic scenario is very different from McCarthys and, signifying the shift away from The Road, not only does Jeevan keep out of the road, but Kirsten cannot, and does not want to, remember anything about the traumatic year she spent on the road immediately following the catastrophe (Mandel, 2014: 195, 295). Convenience Store in Sterling, VA. And I think it would be very easy to lose perspective and think that this was the entire world. We tend to think about the apocalypse as a catastrophe of enormous proportions and overwhelming consequences, something which, then, brings about a dystopian post-apocalyptic scenario. Author Emily St. John Mandel was not involved in the adaptation of her hit novel. And senior culture editor you explore and experience our city conclusion, I think I 'd to...: Postmodernism and the reason for that is that I feel that most dystopian fiction to.: Tyler concludes a Conversation with Emily St. John Mandels fourth novel station Eleven replicates what gomel (:. It shamelessly from Star Trek: Voyager other kind best events, to be to... To the texts deconstruction of utopian teleology itself consists of fragments from before and the... Involved in the Theory of fiction recently made the National book Awards shortlist fiction! For me as I was writing this book was how incredibly local world... A second season of horror and mayhem ending: Studies in the Theory of fiction brilliance by Petty, my! 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