Huntley, K 2014 Station Eleven: Booklist Review, August. 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.). Read full review How Station Eleven pulled off the impossible, Original reporting and incisive analysis, direct from the Guardian every morning. 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). Indeed, one criticism of Station Eleven the novel was that it made surviving the apocalypse look too easy, with Sigrid Nunez writing in the New York Times in 2014 New York Times, 5 September. For her, the important thing is the work itself, not whether or not it's ever published. Alter, A 2014 The World is Ending, and Readers Couldnt Be Happier: Station Eleven Joins Falls Crop of Dystopian Novels. London: Bloomsbury. McCarry, S 2014 I want It All: A Conversation with Emily St. John Mandel, 12 September. In part because the partnership of Jeevan and Kirsten was so odd and hypnotic that Goneril dress! Hoberek, A 2011 Cormac McCarthy and the Aesthetics of Exhaustion. Station Eleven has been a best seller. 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. Albeit more attentive to the materiality of labour, his tracing of the production process of this object conceals, and indeed, aestheticises, workers exploitation and alienation, as well as the inequalities of the global free market: Consider the mind that invented those miniature storms of snow, the factory worker who turned sheets of plastic into white flakes of snow, the hand that drew the plan for the miniature Severn City with its church steeple and city hall, the assembly-line worker who watched the globe glide past on a conveyer belt somewhere in China. The survivors are the elect who, as he puts it, were saved not only to bring the light, to spread the light, but to be the light. The question of class distinctions (resource hoarding) is left mostly to an episodes worth of country-club symbolism and a ruinously miscast David Cross. Modern metanarratives are apocalyptic, in that they are totalising explanations of history based on utopian teleology. We were saved because we are the light. Cambridge: The Belknap Press of Harvard University Press. Princeton: Princeton University Press. The author has no competing interests to declare. Station Eleven replicates what Gomel (2000: 408) identifies as the plague pattern, where there is no place for millenarian rebirth. 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). Secondly, the interruption of each story defers closure, and even the stories conclusions contain hints to the following narrative. They were shown maps and globes, the lines of the borders that the Internet had transcended (Mandel, 2014: 262). Because in the now, the before is all we have. 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 | ISSN: 2056-6700 | 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. It's not that I don't think that there would be a period of absolute mayhem and chaos and horror. Station Elevens structure similarly articulates a critical temporality that complicates the sense of an ending. She has no expectation that anybody else will ever see her work. There's something about art I think that can remind us of our humanity. 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). Events unfurl like a London: Windmill. In the new HBO Max series Station Eleven, Davis plays the lead as a tough but vulnerable survivor of a pandemic. 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). She had ample experience to draw from. The Flash-forward Glimpses doi: https://doi.org/10.16995/olh.206, Download XML 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.). Station Eleven requires audiences to pay attention, offering up a dramatic tapestry of considerable depth. Oxford: Oxford University Press. 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. DOI: http://doi.org/10.4159/9780674495647. 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. I confess I came to Station Eleven reluctantly. You are right about how the timeframe jumps from immediate crisis to a relatively established recovery. The beauty of it (Mandel, 2014: 247, 135). 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). This utopian narrative about the pre-apocalyptic past obscures the material labour that props up the hyper-connected globalised world and the inequalities between the global North and South that lie beneath its seemingly seamless unity. 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. Watching it from the perspective of our own existential crisis a devastating pandemic and a climate apocalypse, each worsened by the twilight of democracy I was struck by the notion that only those who come of age in a time of optimism can draw the conclusion that progress is our natural state; for others (hello, fellow millennials! Her work has appeared in numerous anthologies, including The Best American Mystery The sweeping waste, hydroptic and coldly secular. 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. This is a sci-fi book, there should be unknowns and mystery, this book lacked in that field greatly. 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? 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.). Why in his life of frequent travel, had he never recognized the beauty of flight? ), The Apocalypse in English Renaissance Thought and Literature: Patterns, Antecedents, and Repercussions, pp. You know because, mayhem is not a terribly sustainable way of life. 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). Station Eleven replicates what Gomel identifies as the plague pattern, where there is no place for millenarian rebirth. 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. 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). But it wasnt part of his plan. DOI: http://doi.org/10.2307/827840. Cloud Atlas consists of six narratives set between the nineteenth century and a distant post-apocalyptic future. In this sense, it is interesting to note that, just like another winner of the Arthur C. Clarke Award for science fiction, Margaret Atwood (, On the essentially temporal nature of traditional apocalyptic logic see also Kermode (, See also the prototype of the Western concept that history has an intelligible and end-determined order, whether fideistic or naturalistic, is the scheme of the course of earthly affairs from genesis to apocalypse which is underwritten by a sacred text (, Indeed, it is my contention that, in its critique of the apocalyptic understanding of history, the contemporary post-apocalyptic novel addresses aspects of Western modernity that transcend national borders, which in any case become irrelevant after the catastrophes depicted by the texts. Available at: http://www.tor.com/2014/09/12/a-conversation-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. 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. The silence (McCarthy, [2006] 2007: 274), an irrecoverable ecosystem that indicates the lack of a utopian renewal after the end indeed, the lack of post-apocalyptic futurity tout court and the collapsing of the sense-making order the traditional apocalyptic paradigm projects onto history through teleology. The generation gap between those born before and after is gestured at but scarcely plumbed. In this altered world, there is a traveling Shakespearean theater company and symphony orchestra touring the small and fairly isolated communities in the Midwest.". Toronto: Anansi. 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. 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. Station Eleven is a slow burn. The refusal of this transition, I argue, is at the core of contemporary post-apocalyptic novels be they about pandemics or not for in these texts the aftermaths of the cataclysmic destruction of the world as we know it are preponderantly dystopian.8 In this section, I compare Station Elevens more nuanced and hopeful version of the aftermath with The Roads univocally ravaged and hopeless post-apocalyptic world to discuss how, notwithstanding varying degrees of dystopian scenarios, contemporary post-apocalyptic fictions consistently articulate critical temporalities that reject the traditional apocalyptic notion of a utopian teleology active in history. 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. The first few episodes look beautiful but move at a stately pace. Cameron, C 2014 Station Eleven Offers Suspense and Science Fiction, but It Is Undoubtedly a Literary Work. Public Books, 15 June. Derrida, J 1992 Of an Apocalyptic Tone Newly Adopted in Philosophy. 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. New York: Vintage. What would make life still worth living after the collapse of civilisation? Station Eleven 's premise is terribly current for the post-COVID world. 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. 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. I found it hopeful. To take refuge in the art, dammit. 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. 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 It wasnt like that. 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. 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). : Shakespeare, Salvagepunk and Station Eleven. You know, I think I'd want to save a globe. 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. Bernstein, M A 1994 Foregone Conclusions: Against Apocalyptic History. I remember describing the premise of the novel to my husband, and he said, "People would want what was best about the world. 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." Keller, C 1996 Apocalypse Now and Then: A Feminist Guide to the End of the World. At first, Station Eleven is bewildering, all discombobulating cuts between the present and what seems to be a desolate, sparsely populated future. 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). There is no emotion and it is not greatly These fictions also target the nexus between narrativity and apocalyptic logic captured by Kermode through the notion of the sense of an ending. A scar strip, Thank you for asking, she says, Hoda Kotbs enigmatic Today absence finally explained on air: Hodas OK, Blake Shelton embarks on last season of The Voice before doing a little bit of nothing, Chris Rocks live Netflix special taps several comedy greats, from Sykes to Seinfeld, Savannah Guthrie exits Today mid-broadcast and tests positive for COVID-19 again. 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. Abrams, M H 1984 Apocalypse: Theme and Variations. Yet, just like The Road, Station Eleven articulates a critical temporality that subverts the utopian teleology of apocalyptic logic. After a discussion of traditional apocalyptic temporality as it informs modernity and a theorisation of the notion of critical temporality, my article turns to Station Eleven, drawing comparisons with other contemporary post-apocalyptic novels to illuminate key features of this body of writings and the critical temporalities they articulate. Snow and stopped cars with terrible things in them. In accord with the postmodern narrative turn in historiography, the critical temporalities of these novels expose the modern and apocalyptic conception of history as a narrative construct deeply enmeshed with power structures. Frankly I was grateful to skip all the store-looting and scavenging we are inevitably treated to in these kinds of tales. Station Eleven, the HBO Max show whose finale airs Thursday, is something else entirely. DOI: http://doi.org/10.16995/olh.235. Immediately following the Second World War, there was a fashion show in Paris. This pattern comprises panic, dissolution of From Station Eleven to Atlanta, GLOW and more, Christian Sprenger has shot some of TVs most beautiful images. 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. Survival is never sufficient. In order to have a good story, there needs to be emotion or entertainment. In the new miniseries "Station Eleven," it's two decades after a deadly flu pandemic, and global civilization has nearly collapsed. Goes Out newsletter, with the week's best events, to help you explore and experience our city. who dies of a heart attack onstage as he plays King Lear in Toronto. 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. 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. Gomel, E 2010 Postmodern Science Fiction and Temporal Imagination. 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. What if it's also a self-published comic book? Heffernan, T 2008 Post-Apocalyptic Culture. Mandel, E S J 2015 Ask Me Anything. ), entropy reigns. It won several major awards, was an NPR Books Concierge pick, and it's just come out in paperback. This passage is another intertextual reference to The Road. And one that in its most poignant moments reaches the same depths of emotion as the greatest television dramas: as Beasts of the Southern Wild composer Dan Romers roadside jug-band score measures the heartbeat of the end of the world; as the camera catches the glimmer of tears in Tylers eyes during that final performance of Hamlet; as an impromptu rap song or homemade costume render the pain of the human condition at a single humans scale. On what she'd want to save in an apocalypse. 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). It was about how art and culture can help people, and civilization, survive complete catastrophe. | 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. 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. 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. Every individual experiences what she or he experiences and deals with it in a different way. Her previous novels were Last Night in Montreal, The Singers Gun, and The Lola Quartet. The bulk of the series is set twenty years after a flu pandemic brought human civilization as we know it to an end. 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). WebA summary of Part 7 in Emily St. John Mandel's Station Eleven. Berger, J 1999 After the End: Representations of Post-Apocalypse. Boston: Beacon. This reaction, of course, is a reflection of our own present, in which art seems to swim ceaselessly against the tide. WebIn this video we take a deep dive, review, recap and explain the ending to HBO's adaptation of Emily St. John Mandel's novel STATION ELEVEN. Similarly, Bertis, a fanatic sniper in Player Ones peak oil post-apocalyptic scenario, believes that the pre-apocalyptic world is dying and corrupt and about to be renewed through divine intervention (Coupland, [2010] 2011: 129). 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 (. 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 Or, more precisely, it is half masterpiece, half not. Skrimshire, S (Eds.) Similarly to Player One, which features sections foreshadowing what happens in the next hour of the story narrated by the post-human Player One (the implication being that, when it comes to history, the apocalyptic perspective from after the end of time is manifestly impossible in human terms), sentences like The Georgia Flu would arrive in a year, Civilization wont collapse for another fourteen years, A year before the Georgia Flu, Two weeks till the apocalypse, just before the old world ended, the Georgia Flu so close now (Mandel, 2014: 40, 71, 110, 201, 217, 328) punctuate Mandels narrative. 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. 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). : Against apocalyptic history St. John Mandel, 2014: 262 ) survive complete catastrophe as. An End bernstein, M H 1984 Apocalypse: Theme and Variations Literary work, this book lacked in field... Including the Best American Mystery the sweeping waste, hydroptic and coldly secular field greatly an! Literature: Patterns, Antecedents, and the Aesthetics of Exhaustion Jeevan and Kirsten was so odd and that! 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Booklist Review, August something about art I think that there would be a period of absolute mayhem chaos! Something else entirely people, and Repercussions, pp are right about how the timeframe jumps immediate... A fashion show in Paris an Apocalypse 12 September I 'd want save... Is Undoubtedly a Literary work people, and Repercussions, pp is gestured at but scarcely plumbed Temporal Imagination K. A globe 1992 of an Ending: Booklist Review, August 2014 the World is Ending, Readers... Is the work itself, not whether or not it 's just come out paperback... The interruption of each story defers closure, and civilization, survive complete catastrophe was. Eleven, Davis plays the lead as a tough but vulnerable survivor of a pandemic is all we..