Here in the present, we play we play musical instruments at refugee camps. Oxford: Oxford University Press. You know, it's interesting to think about what survives. Available at: http://www.nytimes.com/2014/09/06/books/station-eleven-joins-falls-crop-of-dystopian-novels.html [Last accessed 24 October 2018]. 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. Yet Tylers apocalyptic narrative indicates not only the complicity of apocalyptic logic with violence and power structures but also how the appeal of this kind of narrative depends on its promise of a sense-making temporal order. Station Eleven has been a best seller. TV Details Washington Post, 15 October. Berkeley: University of California Press. Even the Georgia Flu, Jeevan notes, has a disarmingly pretty name (Mandel, 2014: 17). It's some sort of combination of pessimism or narcissism that it's almost as though we want to believe or living at the climax of the story. In: Atwood, M (Eds. 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 has been a best seller. Cloud Atlas consists of six narratives set between the nineteenth century and a distant post-apocalyptic future. Furthermore, teleology entails determinism, which compromises the possibility of choices and ethics. The novels elegiac tone is encapsulated by the Museum of Civilization, where civilization refers to the bygone hyper-globalised world. 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. WebStation Eleven contains many explicit references to other works of art, and relies on them heavily for source material. Huntley, K 2014 Station Eleven: Booklist Review, August. 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 Despite the tidy conclusion, I can only hope creator Patrick Somerville and HBO Max are in negotiations for a second season. Because in the now, the before is all we have. 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). 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. 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). As for the issue of whether or not art has saved us, there is no way of knowing, though it certainly has functioned, at the very least, like the COVID-19 vaccinations incapable of eradicating evil but allowing more people to survive it. Among the 1% left Himesh Patel and Matilda Lawler in Station Eleven. ), entropy reigns. Just like McCarthys father and son, Jeevan and [A]lmost everyone was moving south in a silent landscape. The Museum soon becomes a sanctuary where people go to pray, for Station Elevens post-apocalyptic characters clin[g] to the hope that the world they remembered could be restored (Mandel, 2014: 213), just like the people of the Undersea in the comic Station Eleven, penned by Miranda, the title of which signals its status as a mise-en-abyme text.9 Thus, children at school are taught about the way things were, although these are just abstractions and essentially science fiction to them (Mandel, 2014: 269, 262, 270). 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. There was no place on Earth that was too far away to get to. 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). 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. The contemporary post-apocalyptic novel, instead, is not only predominantly dystopian but articulates temporalities critical of the apocalyptic model of history to make space for unwritten futures which are key to agency. In her study of contemporary Canadian apocalyptic narratives, Marlene Goldman writes that: Canadian authors introduce particular twists to the familiar myth of the end by challenging rather than embracing apocalypses key features, specifically, the purgation of the non-elect and the violent destruction of the earthly world in preparation for the creation of a divine one (2005: 6). The full Long Island Rail Road terminal in Grand Central Station opened Monday. 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. As one of the survivors puts it, Elizabeths [the prophets mother] a fucking lunatic (Mandel, 2014: 253). Available at: https://tetheredbyletters.com/when-the-dust-settles-an-interview-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. By opening with the apocalyptic end that is foreshadowed by these sentences, Station Eleven highlights not only how the temporal order of the sense of an ending can be imposed on the randomness of time solely retrospectively, but also how this order ultimately implies a future that is already written. Survival is never sufficient. Clark speaks to himself in bed next to Miles. We begin, really, to care, to wonder, to ask more questions. McCarthy, C [2006] 2007 The Road. DOI: http://doi.org/10.4324/9780203969908. 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.). It received critical acclaim and was nominated for seven Primetime 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? So yeah, there is a comic book that's drawn by a character in the present day. 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. 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. 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. The final minutes of the Station Eleven finale reunite Kirsten (Mackenzie Davis) and Jeevan (Himesh Patel) after 19 years apart. Thus, after a paragraph foreshadowing Mirandas divorce from Arthur and ensuing life a future that in Station Eleven is, literally, already written at the start of the novel, when we are informed of Arthurs many ex-wives (Mandel, 2014: 134) Mandel pauses to remind the readers that first theres this moment (Mandel, 2014: 107), a moment in which, in life unlike narratives, we take decisions that shape an unwritten future. 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? Mandels novel thus exposes apocalyptic temporality as an artificial teleological order that one imposes on contingency, often with oppressive agendas in mind, as is the case of the prophet. This critique of teleology is reflected in Station Elevens narrative structure. Tate, A 2017 Apocalyptic Fiction. That episode, which straddles the before and the after, was totally crazy and completely glorious; of course some female doctor would create a maternity ward in a place that once sold beds. Drawn from Emily St. John Mandels novel, the seriess speculative future edges up, in its most ill-conceived moments, to a kind of Walking Dead-meets-Terrence Malick self-indulgence, and it rarely convinced me, or held me by the throat, the way its speculative present did; I even weighed whether to skip the episodes set along the Wheel, the Great Lakes circle the Symphony traced. Matt Brennan is a Los Angeles Times deputy editor for entertainment and arts. 2010 Future Ethics: Climate Change and Apocalyptic Imagination. This reaction, of course, is a reflection of our own present, in which art seems to swim ceaselessly against the tide. I focus on three elements, which reflect central features of this body of writings the critical appropriation of religious apocalyptic logic, the critique of utopian teleology, and non-linear narrative structures and parallel Mandels novel with three other key texts of the genre, Douglas Couplands Player One (2010), Cormac McCarthys The Road (2006) and David Mitchells Cloud Atlas (2004). There is no emotion and it is not greatly This passage is a clear intertextual reference to McCarthys The Road, whose world is complete with travellers with shell-shocked expressions, children walking covered in blankets, people being killed for their backpacks contents, and a hungry dog. Flawed but engrossing, the craft of HBO Maxs post-post-apocalyptic tale masks its narrative imperfections: As in the Bard, plot gives way to poetry. Twentieth Century Literature, 46(4): 40533. The same interplay of artificial lights and darkness can be found in the description of a shipping fleet permanently anchored off the coast of Malaysia due to the 2008 economic crisis. As time passes through the night the world starts to crumble. Her work has appeared in numerous anthologies, including The Best American Mystery The author has no competing interests to declare. Stepping over corpses (Mandel, 2014: 193) a description that echoes the snowy wasteland of The Road, barren, silent, godless, strewn with cars in which people were burnt alive (McCarthy, [2006] 2007: 4, 273). London: Continuum. I mean, extra points for level of difficulty, no? Open Library of Humanities, 4(2): 8, 123. 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. It won several major awards, was an NPR Books Concierge pick, and it's just come out in paperback. 2nd ed. Foursquare City Guide. The peculiarity of the novel is that all the stories with the exception of the sixth, the post-apocalyptic one, situated in the middle are interrupted in order to give way to the following one in a chronological order, and are then resumed in reverse order in the second half of the book. One of the prophets followers, who dies revelling in Revelations promise of a new heaven and a new earth (Rev. WebFull Review | Jan 12, 2022. 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). Yet contemporary post-apocalyptic scenarios are predominantly dystopian. Emily St. John Mandel. Princeton: Princeton University Press. 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.). How Station Eleven pulled off the impossible, Original reporting and incisive analysis, direct from the Guardian every morning. In the new miniseries "Station Eleven," it's two decades after a deadly flu pandemic, and global civilization has nearly collapsed. Tyler reunites with his mother. 1. Obviously, it is a narrative cheat to just slide on by all the work and infighting that went into creating those communities, but that isnt what Station Eleven is about. How deeply strange it is, how deeply unsettling, to be able to compare and contrast a fictional pandemic with the real thing. 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 certainly did not quite understand why Jeevan chose to take Kirsten out into the Chicago winter rather than do a bit more exploring in that very large apartment building. 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). 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. How? 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. 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). Why, I kept asking myself, are they still living on the ground? "Virginia Lottery tickets are available for purchase here!" Available at: https://www.clarkeaward.com/2015-winner/ [Last accessed 24 October 2018]. It is almost more discomfiting, however, to be able to point now to moments the creators get wrong. Montral: McGill-Queens University Press. 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.). 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. For the thing with the new world is its just horrifically short on elegance (Mandel, 2014: 151). Ah, you say no. This is a sci-fi book, there should be unknowns and mystery, this book lacked in that field greatly. London: Windmill. It was about how art and culture can help people, and civilization, survive complete catastrophe. The narrative continuously moves between the pre- and the post-apocalypse without any regular pattern, and, what is more, even in these two distinct periods, the narrative keeps shifting between different times, from the night Arthur dies and the pandemic begins, to various moments in his life and that of people that are connected to him, from the catastrophes immediate aftermath, to fifteen and twenty years after it.12 Just as in Cloud Atlas, Station Elevens structure encourages us to read for connections between pre- and post- apocalyptic fragments, rather than for an end that integrates the various moments. Yeah, I was interested in the randomness of what survives and what doesn't. 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 Available at: https://www.reddit.com/r/books/comments/38e15y/hi_im_emily_st_john_mandel_author_of_station/ [Last accessed 24 October 2018]. Coupland, D (2010) 2011 Player One. WebA pandemic show based on a pandemic novel airing two years into a global pandemic, "Station Eleven" may seem fatigue-inducing. Every individual experiences what she or he experiences and deals with it in a different way. I remember describing the premise of the novel to my husband, and he said, "People would want what was best about the world. The first concerns the early days and years of the pandemic. This pattern comprises panic, dissolution of socioeconomic structures, and despair, succeeded by a makeshift return to normality once the disease has run its course. Through their content and narrative structure, contemporary post-apocalyptic novels take issue with the apocalyptic delirium of destination of Western modernity (Derrida, 1992: 53), that is, with the closed and deterministic conception of time at the core of apocalyptic logic and its equally closed and normative utopian visions, which leave no space for agency and for alternative visions of the future. From Station Eleven to Atlanta, GLOW and more, Christian Sprenger has shot some of TVs most beautiful images. Does Station Eleven depict an unrealistic social regeneration? Finally, when the prophet is killed towards the end of the novel, people find in his bag A copy of the New Testament, held together with tape nearly illegible, a thicket of margin notes and exclamation points and underlining (Mandel, 2014: 303), which further confirms the profound influence of biblical apocalypses, and of Revelation in particular, on the prophets worldview. Season 1 Review: Station Eleven is brilliant television. They were shown maps and globes, the lines of the borders that the Internet had transcended (Mandel, 2014: 262). 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). 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. Available at: 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/ [Last accessed 24 October 2018]. And, as a sniper, he believes he is clearing the way for gods new utopian order, for [T]he people [he] shot bothered God. London: Picador. Abrams, M H 1984 Apocalypse: Theme and Variations. Station Eleven. These gaps keep spaces of possibility open in the novels structure, indicating Mitchells intention to debunk apocalyptic determinism and narrative foreshadowing. 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. 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). Indeed, Mandel glosses over the blood-drenched years just after the collapse, the first unspeakable years which were, tellingly, spent on the road, travelling (Mandel, 2014: 48, 37). The full Long Island Rail Road terminal in Grand Central Station opened Monday. Station Eleven replicates what Gomel identifies as the plague pattern, where there is no place for millenarian rebirth. In Player One, Bertis justifies his murders through a similar self-righteous moral dualism and teleology. DOI: http://doi.org/10.1080/00111619.2017.1369386. but mainly because it quickly became obvious, from the running references to Shakespeare and the (fictional) graphic novel Station Eleven, that this story was not about how to survive a pandemic. 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. We put on plays in warzones. [Children] were told about the Internet, how it was everywhere and connected everything, how it was us. Her previous novels were Last Night in Montreal, The Singers Gun, and The Lola Quartet. Even in rural Pennsylvania, let alone Asia, you know your world becomes so small so quickly. In part because the partnership of Jeevan and Kirsten was so odd and hypnotic that Goneril dress! The chaos of historical contingency chaos which is even more evident and dreadful at times of crisis, such as that of the devastating Georgia Flu is tamed through the recourse to apocalyptic determinism, namely, to the belief that everything happens for a reason, as the prophets mother repeats throughout the novel. The Station Eleven soundtrack song accompanies a flashback sequence. 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). The Georgia Flu, the prophet claims, was our flood. In: Derrida and Negative Theology, Coward, H and Foshay, T (Eds.). 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. Art and literature can, the series argues, offer some safety rails, some moments of connection. What the readers find in Mandels novel is not the destruction of the corrupt old world and subsequent ushering in of a utopian new world but, rather, a lament about the lost wonders of technology and the splendours of the former world (Mandel, 2014: 288, 231) which undermines apocalyptic sense-making. In order to have a good story, there needs to be emotion or entertainment. Station Eleven manages to find something different: beauty and meaning, most of it wrapped up in the pandemic's survivors, our main characters, and the way they manage to connect to others and find some joy even in a grim time and place. Available at: http://www.tor.com/2014/09/12/a-conversation-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. 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). 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. ) 2011 Player one, Bertis justifies his murders through a similar moral. October 2018 ] here in the present, we play we play we we!: //www.theglobeandmail.com/arts/books-and-media/book-reviews/station-eleven-offers-suspense-and-science-fiction-but-it-is-undoubtedly-a-literary-work/article20577909/ [ Last accessed 24 October 2018 ] super Flu has wiped the. One, Bertis justifies his murders through a similar self-righteous moral dualism and.... Apocalyptic Imagination available for purchase here! tickets are available for purchase here! followers, who dies in. 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