The Swiss Family Robinson managed, and they were mostly kids! Open Library of Humanities, 4(1): 7, 126. Nothing (McCarthy, [2006] 2007: 216). Miranda, Arthurs ex-wife, was unprepared for [the fleets] beauty. 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: University of Toronto Press. Minneapolis: University of Minnesota Press. The prophet believes that everything that has ever happened on this earth has happened for a reason (Mandel, 2014: 59), including the Georgia Flu, which he sees as a perfect agent of death [that] could only be divine (Mandel, 2014: 60). 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. The first concerns the early days and years of the pandemic. 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. Derrida, J 1992 Of an Apocalyptic Tone Newly Adopted in Philosophy. West, M 2018 Apocalypse Without Revelation? 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. 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. Mandel, E S J 2014 Station Eleven. 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. Log In; 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. 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. 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). What I was really interested and writing about was what's the new culture and the new world that begins to emerge? Available at: https://www.clarkeaward.com/2015-winner/ [Last accessed 24 October 2018]. Station Elevens plot itself consists of fragments from before and after the apocalypse, which challenges the teleological linearity of apocalyptic temporality. WebRotten Tomatoes reports a 98% approval rating with an average rating of 8.1/10, based on 54 critic reviews. 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. WebStation Eleven Questions and Answers - Discover the eNotes.com community of teachers, mentors and students just like you that can answer any question you might have on Station Eleven Search this site The final minutes of the Station Eleven finale reunite Kirsten (Mackenzie Davis) and Jeevan (Himesh Patel) after 19 years apart. Station Eleven has been a best seller. Audience member Jeevan (Himesh Patel) tries to take her home, but they are overtaken by the collapse of civilisation and begin their new life navigating the disaster together. Washington Post, 15 October. His co-stars can't remember if he had a family to notify. Station Eleven and The Last of Us share one more very specific similarity: juxtaposing destruction with art. doi: https://doi.org/10.16995/olh.206, Download XML 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. Yet contemporary post-apocalyptic scenarios are predominantly dystopian. We tend to think about the apocalypse as a catastrophe of enormous proportions and overwhelming consequences, something which, then, brings about a dystopian post-apocalyptic scenario. Why Netflix is dabbling in livestreaming, Stranger Things play that may hold key to the end taking 1959 Hawkins to West End, NBCs Chicago series have strong showings but CBS wins weekly TV ratings race, Before and after photos from space show storms effect on California reservoirs, Dramatic before and after photos from space show epic snow blanketing SoCal mountains, The chance of a lifetime: Five friends ski the tallest mountain in Los Angeles, Best coffee city in the world? WebFull Review | Jan 12, 2022. The Georgia Flu, the prophet claims, was our flood. 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 However, as The Ringer's Alison Herman wrote, the show leverages our own experience of the pandemic to Having established its Available at: https://www.reddit.com/r/books/comments/38e15y/hi_im_emily_st_john_mandel_author_of_station/ [Last accessed 24 October 2018]. It seemed at least plausible to me that there would eventually be some kind of hope. Art and literature can, the series argues, offer some safety rails, some moments of connection. The only descriptions of the immediate aftermath Mandel gives her readers are through Jeevan, a paramedic who tries to help Arthur when he has a stroke on stage the night the pandemic begins. Emily St. John Mandel. Mitchell, D 2004 Cloud Atlas. The apocalypse is such a gap: we do not know what happened, just as in The Road, and this in itself challenges the sense-making function of the end in both apocalyptic history and traditional narratives. 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. Rosen, E K 2008 Apocalyptic Transformation: Apocalypse and the Postmodern Imagination. But I fear the social future Station Eleven imagines is implausible, if not disingenuous. By the same token, Station Elevens prophet terrorises the population of the region, assembles a cult, and gains power thanks to a combination of charisma, violence, and cherry-picked verses from the Book of Revelation (Mandel, 2014: 280), where cherry-picked underlines the constructedness of Tylers prophecy. 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. Zombies show no talent for climbing; is there no engineer or architect among them who could construct an elevated village? McCarthy, C [2006] 2007 The Road. This refusal to paint the old world as worthy of a destruction that paves the way for a utopian renewal articulates the novels critical temporality but is not devoid of issues, as Station Eleven ends up unquestioningly celebrating the current system. 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. Thus, while the traditional apocalyptic narrative makes the conjunction of meaning and ending its theme, both in its expressed understanding of history and in its own narrative procedures (Zamora, 1989: 14), Station Eleven, as discussed, leaves readers with the sense of possibility, an open and unwritten future that challenges the closure and determinism of the sense of an ending and that, like the gaps in the fictional history of Cloud Atlas, allows space for human agency.13. On what she'd want to save in an apocalypse. Alter, A 2014 The World is Ending, and Readers Couldnt Be Happier: Station Eleven Joins Falls Crop of Dystopian Novels. DOI: http://doi.org/10.16995/olh.256. Station Eleven. 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. It won several major awards, was an NPR Books Concierge pick, and it's just come out in paperback. Modernism, Postmodernism, and the Twentieth-Century Novel. 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. The question of class distinctions (resource hoarding) is left mostly to an episodes worth of country-club symbolism and a ruinously miscast David Cross. Plymouth: Lexington. In the new HBO Max series Station Eleven, Davis plays the lead as a tough but vulnerable survivor of a pandemic. Station Eleven happened to be on a break in March 2020 when COVID hit, and by the time production started up again in February 2021, the world had changed. 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). Furthermore, teleology entails determinism, which compromises the possibility of choices and ethics. Author Emily St. John Mandel was not involved in the adaptation of her hit novel. As Lee Quinby sums up, the apocalyptic metanarrative is a quintessential technology of power/knowledge, since its tenet of preordained history disavows questionings of received truth, discredits skepticism, and disarms challengers of the status quo (1994: xiii). While the novels prophet holds on to a religious understanding of apocalypse in which the end is followed by utopian rebirth, the Georgia Flu, the pandemic that kills 99% of the worlds population, is termed apocalypse by the television newscasters in the sense of dystopian catastrophe rather than utopian revelation, and the apocalyptic narratives referred to in the text are disaster movies, with the dangerous stragglers fighting out for the last few scraps (Mandel, 2014: 243, 256). Tyler reunites with his mother. But book awards and 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. There was no place on Earth that was too far away to get to. 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. who dies of a heart attack onstage as he plays King Lear in Toronto. Station Elevens post-apocalyptic beauty is a far cry from The Roads ponderous counterspectacle of things ceasing to be. 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? 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). There is no emotion and it is not greatly Chute, H L 2016 Disaster Drawn: Visual Witness, Comics, and Documentary Form. And though I admire HBO Max for releasing a show about a fictional deadly pandemic in the middle of an actual pandemic (after the shows production was shut down for months by same), I was not interested in any kind of survival guide. London: Bloomsbury. 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. 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). 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. Station Eleven repeatedly emphasises that there is no deterministic pattern to time, contrary to what apocalyptic logic affirms. Goes Out newsletter, with the week's best events, to help you explore and experience our city. If nothing else, its pleasant to consider the possibility. Goldman, M 2005 Rewriting Apocalypse in Contemporary Canadian Fiction. Huntley, K 2014 Station Eleven: Booklist Review, August. The prophets image of the pandemic as an avenging angel (Mandel, 2014: 60, 286) echoes Revelation 1516, where the seven bowls of gods wrath are unleashed on the Earth by seven angels. But I also know that if any survivor owned a snowplow, he or she would use it because snowplowing is a calling and an art form in itself. She has no expectation that anybody else will ever see her work. Station Eleven and The Last of Us share one more very specific similarity: juxtaposing destruction with art. We were saved because we are the light. London: Windmill. 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. Now that that's all mapped and charted out and there are no more frontiers that's left us with a certain restlessness, that I suppose gets channeled into our interest in this futuristic, speculative fiction. 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. 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. DOI: http://doi.org/10.1080/00111619.2017.1369386. Heffernan, T 2008 Post-Apocalyptic Culture. The Traveling Symphony is a troupe of actors and musicians dedicated to keeping the remnants of art and humanity alive. These are elevated by the catastrophe to the status of artworks, beautiful objects which move Clark because of the human enterprise each object had required (Mandel, 2014: 255). I read, If you want the girl next door, go next door: Lori Petty on Station Eleven and surviving Hollywood, Anuplifting pandemic drama? Importantly, these hours of miracles [are] visible as such only in hindsight (Mandel, 2014: 223), that is, the deterministic teleological pattern of apocalyptic logic, with its distinction between the elect and the non-elect, is always constructed retrospectively, after the end, be this a future projection or a past event that is perceived as an end of something, as is the case of the Flu with the survivors. 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). Station Eleven replicates what Gomel (2000: 408) identifies as the plague pattern, where there is no place for millenarian rebirth. By Richard | ISSN: 2056-6700 | Even in rural Pennsylvania, let alone Asia, you know your world becomes so small so quickly. Thus, the critical temporalities of contemporary post-apocalyptic fictions challenge the hegemonic temporality of modernity: time as a neutral, homogeneous and teleological continuum. 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. Available at: http://www.tor.com/2014/09/12/a-conversation-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. Or at least part of it is. I have seen many, and characters are almost exclusively categorized as hero, villain, victim but never bard, never artist. Notice, in this sense, Clarks musings on the snow globe housed in the Museum. Lighter moments leaven the darkness, particularly when the irreducibly charismatic and off-kilter Lori Petty, as the troupes composer Sarah, is on screen, or when we flash back to pre-pandemic times. The bulk of the series is set twenty years after a flu pandemic brought human civilization as we know it to an end. DOI: http://doi.org/10.1057/9781137430144, Munslow, A 2006 Deconstructing History. Among the 1% left Himesh Patel and Matilda Lawler in Station Eleven. 1. You know, it's no longer possible to set out as a pioneer and stake a claim and start a new life. In: Patrides, C A and Wittreich, J (Eds. Yes, an episode that aired in 1999. Confused? The dazzling power of electricity floodlights, porch lights, candy-coloured halogens, screens shining, the points of glimmering light that are towns glimpsed from the sky through airplane windows populates Mandels incomplete list of what is lost in the catastrophe (Mandel, 2014: 312). The first few episodes look beautiful but move at a stately pace. 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). 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.). So I would want a globe, just to remember that there was a world out there. The Museum, set up by Clark in the Severn City Airport, hosts everyday objects of the pre-apocalyptic society, such as a laptop, an iPhone, a credit card and a snow globe. DOI: http://doi.org/10.2307/827840. Montral: McGill-Queens University Press. 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). The full Long Island Rail Road terminal in Grand Central Station opened Monday. Station Eleven is a slow burn. This passage is another intertextual reference to The Road. 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