The following is from Emily St. John Mandels novel Station Eleven which was a finalist for a 2014 National Book Award. The full Long Island Rail Road terminal in Grand Central Station opened Monday. Your purchase helps support NPR programming. 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. To take refuge in the art, dammit. Get Screen Gab for everything about the TV shows and streaming movies everyones talking about. 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. Available at: https://www.booklistonline.com/Station-Eleven-Emily-St-John-Mandel/pid=6862248 [Last accessed 24 October 2018]. Even the Georgia Flu, Jeevan notes, has a disarmingly pretty name (Mandel, 2014: 17). Matt Brennan: With its emotional finale, Unbroken Circle, Station Eleven ties off the loose ends in its sprawling narrative: Tyler (Daniel Zovatto), a.k.a. Princeton: Princeton University Press. What if it's also a self-published comic book? 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). Station Eleven, the HBO Max show whose finale airs Thursday, is something else entirely. Mandel self-reflexively plays with the determinism of the sense of an ending by deploying apocalyptic foreshadowing as a narrative device that connects the various sections. Station Eleven features explicit intertextual references to biblical apocalyptic narratives, from the Flood, in Genesis, to Revelation. Notice the singular civilization of the Museums name: it encapsulates the neoliberal dream of a unified globalised world in which all difference is erased under the global free market. Washington Post, 15 October. The sweeping waste, hydroptic and coldly secular. 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). Rather, during the first traumatic months spent walking on the road after the catastrophe, Jeevans litany of biographical facts unravels and is replaced by strange fragments (Mandel, 2014: 194). Gomel, E 2010 Postmodern Science Fiction and Temporal Imagination. Adult Kirsten is, per the Katniss Everdeen amendment to the Geneva Convention, a skilled knife thrower and general badass, but she is also the companys go-to Hamlet, surrounded by a group of people who survived without surrendering their belief in the power of making beautiful things. The Station Eleven soundtrack song accompanies a flashback sequence. Cambridge: The Belknap Press of Harvard University Press. Available at: http://www.nytimes.com/2014/09/06/books/station-eleven-joins-falls-crop-of-dystopian-novels.html [Last accessed 24 October 2018]. McCarry, S 2014 I want It All: A Conversation with Emily St. John Mandel, 12 September. 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. We are the pure, working towards the advent of a new world, the divine plans for which were revealed to him in dreams (Mandel, 2014: 60; emphases in original). The series creator explains why, Station Eleven, like the Shakespeare that sustains it, is something of a miracle, Unlike Andor, Mandalorian is going all in on Star Wars lore. 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. 2010 Future Ethics: Climate Change and Apocalyptic Imagination. 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. Tom's Guide's latest streaming news. 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. But series creator Patrick Somerville had her blessing to change it. 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. But I fear the social future Station Eleven imagines is implausible, if not disingenuous. Ricoeur, P 1984 Time and Narrative, 1. Log In; 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. doi: https://doi.org/10.16995/olh.206, Download XML London: Bloomsbury. Tate, A 2017 Apocalyptic Fiction. 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. Open Library of Humanities, 4(1): 7, 126. Firstly, Times Arrow bec[o]me[s] Times Boomerang (Mitchell, 2004: 149), that is, the linear and teleological development of traditional plots and apocalyptic history the arrow of the novels first half is complicated by the boomerang of the second half. 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? Art and literature can, the series argues, offer some safety rails, some moments of connection. DOI: http://doi.org/10.13130/2035-7680/2987, De Cristofaro, D 2018 Time, no arrow, no boomerang, but a concertina: Cloud Atlas and the Anti-Apocalyptic Critical Temporalities of the Contemporary Post-Apocalyptic Novel. Thus, the critical temporalities of contemporary post-apocalyptic fictions challenge the hegemonic temporality of modernity: time as a neutral, homogeneous and teleological continuum. 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). London: Continuum. A Pulitzer Prize winner in 2015 and finalist for criticism in 2013 and 2014, she has won various awards for criticism and feature writing. Just like the parallels between the stories, the conclusion emphasises the individuals agency to shape the future and the openness of actual time, as opposed to the closure of time in traditional plots. 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). 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. We try to make the world make sense for a minute, she explains to young Kirsten. Her work has appeared in numerous anthologies, including The Best American Mystery "No countries, no internet, no more Facebook, no more email. Or, more precisely, it is half masterpiece, half not. Traditional apocalyptic narratives reveal a utopian teleology to history, a conception of time that deeply informs western modernity and its metanarratives. It's not that I don't think that there would be a period of absolute mayhem and chaos and horror. 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 (. In the new miniseries "Station Eleven," it's two decades after a deadly flu pandemic, and global civilization has nearly collapsed. But then why did the One Ring choose Frodo? You know, it's interesting to think about what survives. 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? In order to have a good story, there needs to be emotion or entertainment. Israeli police lobbed hundreds of stun grenades, fired water cannons and arrested at least 40 people in response to Wednesdays demonstration in Tel Aviv against a judicial overhaul. Told in a relentless stream of disclosure, the story swirls around two troubled siblings, an addict named Paul and his absurdly gorgeous half sister, Vincent. The generation gap between those born before and after is gestured at but scarcely plumbed. Now I am more so, but beyond the practical, the questions posed by the book and the show about how much of a refuge art can provide, what we should work to preserve, what makes a civilisation and what, ultimately, makes life worth living, remain interesting ones. 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. You know, I think I'd want to save a globe. Among the 1% left Himesh Patel and Matilda Lawler in Station Eleven. This [the cults community at St. Deborah by the Water] is a place of order. I found it hopeful. 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. Station Eleven and The Last of Us share one more very specific similarity: juxtaposing destruction with art. Station Elevens plot itself consists of fragments from before and after the apocalypse, which challenges the teleological linearity of apocalyptic temporality. Thirdly, while in the first half of Cloud Atlas the chronological order of the narratives encourages readers to look for clues foreshadowing an ending which will integrate, and make sense of, the various strands, there are gaps in the history traced by the novel and the shifts from one era to the other remain unexplained. At first, Station Eleven is bewildering, all discombobulating cuts between the present and what seems to be a desolate, sparsely populated future. Survival is never sufficient. WebRotten Tomatoes reports a 98% approval rating with an average rating of 8.1/10, based on 54 critic reviews. 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). 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. 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). 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. On what she'd want to save in an apocalypse. 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. People with chaos in their hearts cannot abide here (Mandel, 2014: 61). The second timeline takes us 20 years in the future, when Kirsten (now played by Mackenzie Davis) is part of a troupe of actors known as the Traveling Symphony, who tour the midwest putting on Shakespeare plays Hamlet, when we meet them to the scattered plague survivors. I mean, extra points for level of difficulty, no? 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. | 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. 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. DOI: http://doi.org/10.1093/alh/ajr019. Cameron, C 2014 Station Eleven Offers Suspense and Science Fiction, but It Is Undoubtedly a Literary Work. I remember watching that episode and I remember being absolutely struck by that line. As I am Irish, and firmly believe in Thomas Cahills premise that Irish monks saved civilization by maintaining texts and libraries while Europe fell into the Dark Ages, I was all in. It is almost more discomfiting, however, to be able to point now to moments the creators get wrong. The primary example of this is Shakespeare, specifically King American Literary History, 23(3): 48399. 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). Goldman, M 2005 Rewriting Apocalypse in Contemporary Canadian Fiction. 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. 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.). 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. 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. 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. Mackenzie Davis, left, leads the sprawling cast of HBO Maxs (post-)apocalyptic series Station Eleven.. 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 Post-apocalyptic ravaged aftermaths implicitly subvert the central element of apocalyptic discourse, that is, a sense-making utopian historical teleology. Just like Tyler, Bertis sees himself as the prophet of the new world to come, which is, however, not for everyone. London: Continuum. Published by In a way, Station Eleven is an interesting Rorschach test of apocalyptcisms appeal. Miranda, Arthurs ex-wife, was unprepared for [the fleets] beauty. If there are again towns with streetlights, if there are symphonies and newspapers, then what else might this awakening world contain? And I think it would be very easy to lose perspective and think that this was the entire world. Read full review If nothing else, its pleasant to consider the possibility. Even in rural Pennsylvania, let alone Asia, you know your world becomes so small so quickly. Cambridge: Cambridge University Press. Abrams, M H 1984 Apocalypse: Theme and Variations. 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. 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). 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). In: Atwood, M (Eds. 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. 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. Station Eleven, by contrast, is postapocalyptic in the truest sense of the term. (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. 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. But you know, here I am in Philadelphia this afternoon. Boston: Beacon. Goods travelled in ships and airplanes across the world. Convenience Store in Sterling, VA. 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). Yes, Station Eleven is wildly optimistic and unapologetically sentimental, but I appreciated the problem-solving we did see the airport community, as you mentioned, and the golf resort, even the Symphonys decision to stay within the Wheel for safety reasons. Emily St. John Mandel's new novel, Station Eleven, opens with a vain actor and is there really any other kind? Leggatt, M 2018 Another World Just out of Sight: Remembering or Imagining Utopia in Emily St. John Mandels Station Eleven. Toronto: Anansi. This is a sci-fi book, there should be unknowns and mystery, this book lacked in that field greatly. And during the montage of embraces between Jeevan and Kirsten near the end of Dr. The Traveling Symphony is a troupe of actors and musicians dedicated to keeping the remnants of art and humanity alive. 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. For the thing with the new world is its just horrifically short on elegance (Mandel, 2014: 151). Perfect for acing essays, tests, and quizzes, as well as for writing lesson plans. But book awards and paperback releases are a thing of the past in the world Mandel has created. 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. 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. 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.). Available at: https://tetheredbyletters.com/when-the-dust-settles-an-interview-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. Yet contemporary post-apocalyptic scenarios are predominantly dystopian. Both texts expose how apocalyptic discourse is fabricated to push ideological agendas. Available at: https://www.washingtonpost.com/news/arts-and-entertainment/wp/2014/10/15/sorry-emily-st-john-mandel-resistance-is-futile/ [Last accessed 24 October 2018]. Chaudhary, it finally clicked: Station Eleven soars when it rejects the mantra There is no before when it acknowledges that the future is a science fiction. It was about how art and culture can help people, and civilization, survive complete catastrophe. And, as a sniper, he believes he is clearing the way for gods new utopian order, for [T]he people [he] shot bothered God. Consider the card games played belowdecks in the evenings on the ship carrying the containers across the ocean, a hand stubbing out a cigarette in an overflowing ashtray, a haze of blue smoke in dim light, the cadences of a half dozen languages united by common profanities, the sailors dreams of land and women, these men for whom the ocean was a grey-line horizon to be traversed in ships the size of overturned skyscrapers (Mandel, 2014: 255). 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About the TV shows and streaming movies everyones talking about Station Elevens plot itself of!
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