In this altered world, there is a traveling Shakespearean theater company and symphony orchestra touring the small and fairly isolated communities in the Midwest.". Theres nothing you cant survive, because theres nothing that you will not do (Mandel, 2014: 139). Station Eleven is going to struggle to find an audience this winter. Because in stretches the first comes achingly close to being a masterpiece. ), Station Eleven celebrates the beauty of the pre-apocalyptic world and mourns its loss. The Georgia Flu, the prophet claims, was our flood. This critique of teleology is reflected in Station Elevens narrative structure. WebSee 15 photos and 3 tips from 556 visitors to 7-Eleven. Abrams, M H 1984 Apocalypse: Theme and Variations. I did find it hilarious that, during the winter flashback, the roads were plowed, a sleight of hand Somerville admits was necessary for production to continue. Cultural Dominant. 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. Station Eleven 's premise is terribly current for the post-COVID world. Altre Modernit, 9: 6680. Alter, A 2014 The World is Ending, and Readers Couldnt Be Happier: Station Eleven Joins Falls Crop of Dystopian Novels. It was about how art and culture can help people, and civilization, survive complete catastrophe. 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. Both texts expose how apocalyptic discourse is fabricated to push ideological agendas. 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). 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). Cloud Atlas consists of six narratives set between the nineteenth century and a distant post-apocalyptic future. ), Moving Targets. Or more nuancedly, as Clark, a good friend of Arthurs, comments to Tyler: its not a question of having been bad or the people [who died] were just in the wrong place at the wrong time (Mandel, 2014: 260; ellipsis in original). But both in terms of content and, as we shall see in this articles fourth section, narrative structure, Station Elevens critical temporality questions the idea of a historical pre-determined pattern, emphasising its constructedness. Available at: http://www.nytimes.com/2014/09/06/books/station-eleven-joins-falls-crop-of-dystopian-novels.html [Last accessed 24 October 2018]. 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). West, M 2018 Apocalypse Without Revelation? De Cristofaro, D 2013 The Representational Impasse of Post-Apocalyptic Fiction: The Pesthouse by Jim Crace. 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. The super flu it depicts may be deadly, but its also swift, running its course in a matter of days. If you can stick with it, you will be rewarded. American Literary History, 23(3): 48399. In a way, Station Eleven is an interesting Rorschach test of apocalyptcisms appeal. The word beauty recurs in the descriptions of the post-flu world: the beauty of this world where almost everyone was gone, there was beauty in the decrepitude this dazzling world, It was very difficult, but there were moments of beauty (Mandel, 2014: 148, 297, 302). They were shown maps and globes, the lines of the borders that the Internet had transcended (Mandel, 2014: 262). 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. The novels elegiac tone is encapsulated by the Museum of Civilization, where civilization refers to the bygone hyper-globalised world. 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. Station Elevens appropriation of biblical apocalyptic serves to foreground the violence inherent in apocalyptic logic.7 As Kirsten, a child actor with Arthur in the pre-apocalypse and a member of the Travelling Symphony in the post-apocalypse, muses, [I]f you are the light, if your enemies are darkness, then theres nothing that you cannot justify. London: Windmill. who dies of a heart attack onstage as he plays King Lear in Toronto. It received critical acclaim and was nominated for seven Primetime But then why did the One Ring choose Frodo? In this podcast, PSR Versus podcast hosts Josh Wigler ( @roundhoward) and LaTonya Starks ( @lkstarks) compare episode 7 of The Last of Us and Station Eleven. DOI: http://doi.org/10.4324/9780203969908. However, on the one hand, the novel is far from adhering to the radical utopian renewal of traditional apocalyptic discourse. 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. In: Atwood, M (Eds. Rather than reading for the end, Mitchell invites us to read Cloud Atlas looking for parallels and connections, from the comet-shaped birthmark that links the protagonists of the various stories to their acts of defiance against the predatory logic that brings humanity to the apocalyptic demise.11 Finally, the chronological ending of the novel the post-apocalyptic future is effaced through the actual ending of Cloud Atlas the nineteenth-century narrative which suggest that the future is not already written. Indeed, both Station Eleven and Player One emphasise how the teleological determinism and moral dualism of apocalyptic logic are self-referential narrative constructs which legitimise the oppressions and violence of those who articulate these narratives. Gomel, E 2000 The Plague of Utopias: Pestilence and the Apocalyptic Body. London: Picador. 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. 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. 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. How deeply strange it is, how deeply unsettling, to be able to compare and contrast a fictional pandemic with the real thing. You know, it's interesting to think about what survives. Berger, J 1999 After the End: Representations of Post-Apocalypse. I remember describing the premise of the novel to my husband, and he said, "People would want what was best about the world. 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 (. 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. The first few episodes look beautiful but move at a stately pace. Mary McNamara: Given the spiritual undertones of the series, and the repetition of the sentence I remember damage. 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). But I fear the social future Station Eleven imagines is implausible, if not disingenuous. In order to have a good story, there needs to be emotion or entertainment. Jeevan avoided it, stayed mostly in the woods. 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. Notice, in this sense, Clarks musings on the snow globe housed in the Museum. Station Eleven , the HBO Max show whose finale airs Thursday, is something else entirely. 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). So I would want a globe, just to remember that there was a world out there. Rosen, E K 2008 Apocalyptic Transformation: Apocalypse and the Postmodern Imagination. Does Station Eleven depict an unrealistic social regeneration? In: Patrides, C A and Wittreich, J (Eds. Available at: http://www.tor.com/2014/09/12/a-conversation-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. But the recent surge of post-apocalyptic novels brings to the fore this critical tension between the contemporary and the traditional understanding of apocalypse by appropriating apocalyptic tropes to subvert them from within and, more fundamentally, by being essentially concerned with time and history, a concern that is often embodied within their structural narrative features. If I lived in Philadelphia, I would have no idea what was going on. 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. The acknowledgment section explains Mandel took this statistic from Simon Parrys 2009 Daily Mail article Revealed: The Ghost Fleet of the Recession Anchored Just East of Singapore. 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. I even caught myself asking a blasphemous question: If art were truly capable of saving us, wouldnt we already have been saved? HBO Maxs beguiling new mini-series is about a pandemic, but dont let that scare you off. Learn exactly what happened in this chapter, scene, or section of Station Eleven and what it means. 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. 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. Perfect for acing essays, tests, and quizzes, as well as for writing lesson plans. Emily St. John Mandel's new novel, Station Eleven, opens with a vain actor and is there really any other kind? Addressing this nexus, and through it the power dynamics and determinism embedded in teleology, the narrative structures of the contemporary post-apocalyptic novel articulate critical temporalities that invite us to conceive of narrative, and therefore of history, beyond the sense of an ending. Station Eleven has a nonlinear storytelling style: The story doesn't begin at one point and then progress through time to an ending; it often flashes forward or back in time. Or at least part of it is. Station Eleven replicates what Gomel identifies as the plague pattern, where there is no place for millenarian rebirth. New York: Vintage. Martin Carr We Got This Covered. The Traveling Symphony is a troupe of actors and musicians dedicated to keeping the remnants of art and humanity alive. 32830. You may occasionally receive promotional content from the Los Angeles Times. 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.). Derrida, J 1992 Of an Apocalyptic Tone Newly Adopted in Philosophy. 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 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. Station Elevens structure similarly articulates a critical temporality that complicates the sense of an ending. (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. This structure articulates a critical temporality that undermines the apocalyptic sense of an ending and, more specifically, foreshadowing, which, with its view of the present as the harbinger of an already determined future, is at the core of the temporality of traditional plots and apocalyptic history alike (Bernstein, 1994: 12). In a way, Station Eleven is an interesting Rorschach test of apocalyptcisms appeal. 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). Among the 1% left Himesh Patel and Matilda Lawler in Station Eleven. What if it's also a self-published comic book? 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. What would make life still worth living after the collapse of civilisation? Chaudhary that stuck, as the series has it, to the surprises of just what happened, and so actualized our own collapsing civilization through burning houses and corpse jets and big box stores-turned-maternity wards. Even the guy who auditions by reciting Bill Pullmans speech from Independence Day believes. 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). At first, Station Eleven is bewildering, all discombobulating cuts between the present and what seems to be a desolate, sparsely populated future. 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. Open Library of Humanities, 4(1): 7, 126. As he claims, when we speak of the light, we speak of order. Traditional apocalyptic narratives are fictions of historical order (Zamora, 1989: 4) that flourish in times of crisis and, through his apocalyptic narrative, the prophet seeks to restore order in the chaotic post-pandemic world. Mackenzie Davis, left, leads the sprawling cast of HBO Maxs (post-)apocalyptic series Station Eleven.. Charles, R 2014 Sorry, Emily St. John Mandel: Resistance is Futile. DOI: http://doi.org/10.16995/olh.235. However, as The Ringer's Alison Herman wrote, the show leverages our own experience of the pandemic to The things Jeevan sees vividly recall The Road. Something that came up for me as I was writing this book was how incredibly local your world would become. WebThe most problematic texts involve passages that are not directly from the Koran but rather contain the Saudi government’s particular interpretation of Koranic and other 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. 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. 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. 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. 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. Furthermore, teleology entails determinism, which compromises the possibility of choices and ethics. Set in the days of civilization's collapse, Station Eleven tells the story of a Hollywood star, his would-be savior, and a nomadic group of actors roaming the For me, its what Ive taken to calling the series present the 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. How does this style of storytelling affect the emotional impact of the narrative? On what she'd want to save in an apocalypse. 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). Perhaps it's wishful thinking on my part, but I did like the idea that a Shakespearean company might be able to make it. You had to be impressed by that at least. 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. Ultimately, Station Elevens critique of apocalyptic temporality as a self-referential narrative construct is particularly effective because the prophets fanatic apocalyptic fabrication is an attempt at making sense of history in the wake of an apocalypse that, as typical of the contemporary post-apocalyptic novel, failed to bring about the expected utopian renewal. She was the leader of a band of survivors not because she was a ruthless martial arts expert but because she continued to write symphonies, and understood that music and theater fulfill a deep-seated need. The primary example of this is Shakespeare, specifically King His co-stars can't remember if he had a family to notify. 37. Station Elevens plot itself consists of fragments from before and after the apocalypse, which challenges the teleological linearity of apocalyptic temporality. Are you supposed to be? 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. The concluding discovery of a town with a functioning electrical grid (Mandel, 2014: 311) suggests not the advent of a radical new world and the revelation of a sense-making pattern to history, but, rather, that civilisation might slowly revert to its pre-apocalyptic state and given the positive and optimistic tone of the conclusion, reinforced by the way in which electricity and lights are repeatedly described as beautiful, this, too, indicates the novels problematic celebration of the current system. 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Are you ever surprised? WebFull Review | Jan 12, 2022. By the same token, Kirsten collect[s] fragments of Arthurs life as told in gossip magazines because they are signifiers of her past, of which she has few and disconnected memories (Mandel, 2014: 40). 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). I have seen many, and characters are almost exclusively categorized as hero, villain, victim but never bard, never artist. You know, I think I'd want to save a globe. 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! 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. [18] 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. This pattern comprises panic, dissolution of socioeconomic structures, and despair, succeeded by a makeshift return to normality once the disease has run its course. We always seem to think the world's ending. Station Elevens ending is key to the texts deconstruction of utopian teleology. doi: https://doi.org/10.16995/olh.206, Download XML Chicago: University of Chicago Press. Yet contemporary post-apocalyptic scenarios are predominantly dystopian. This adaptation of the astonishingly prescient 2014 bestseller is deeply unsettling, even in the bits it gets wrong. This article examines Emily St. John Mandels Station Eleven (2014) in the context of the growing body of contemporary post-apocalyptic fictions and what I argue is their critique of the apocalyptic tradition. While it is my argument that this challenge to traditional apocalyptic discourse and its model of history is key to contemporary post-apocalyptic fiction, in this section I focus on Mandels novel in conjunction with another Canadian text, Couplands Player One, which takes place in a Toronto cocktail lounge over five hours while the price of oil quickly escalates and a violent post-apocalyptic scenario ensues.5 Both novels subvert the distinction between the elect and the non-elect, bringing to the fore the self-righteous violence of apocalyptic discourse and how this distinction, as well as the apocalyptic historical teleology it founds, are narrative constructs which serve the interests of those who articulate them. One Fine Morning by Bill Callahan (00:51): Tyler concludes a conversation with Kirsten. Plymouth: Lexington. Ermarth, E D 1992 Sequel to History: Postmodernism and the Crisis of Representational Time. As I have argued, the critical temporalities of the contemporary post-apocalyptic novel debunk the apocalyptic conception of history at the core of western modernity as a narrative construct. 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). ), entropy reigns. Log In; The series creator explains why. You know, it's no longer possible to set out as a pioneer and stake a claim and start a new life. 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. Now, as HBO Maxs tale of a pre-, post- and post-post-apocalyptic society much like our own concludes, senior editor Matt Brennan and columnist and culture critic Mary McNamara have it out about whether the series was truly great or something less. In addition to the texts discussed in my article, other examples of this growing body of twenty-first-century writings include: Louise Erdrichs, Despite the genre turn, Hoberek points out a persistent prejudice against genre fiction central to what Mark McGurl has dubbed the program era of post-World War II fiction (2011: 484). Your purchase helps support NPR programming. 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. 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