ow deeply strange it is, how deeply unsettling, to be able to compare and contrast a fictional pandemic with the real thing. And during the montage of embraces between Jeevan and Kirsten near the end of Dr. 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). 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. WebRotten Tomatoes reports a 98% approval rating with an average rating of 8.1/10, based on 54 critic reviews. Station Eleven. 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? Nothing (McCarthy, [2006] 2007: 216). I read Emily St John Mandels bestselling Station Eleven shortly after it came out in 2014, when the tale of a mysterious flu sweeping the globe and laying waste to normal life lay wholly beyond the bounds of reality. 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 New York Times, 5 September. 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. Open Library of Humanities, 4(2): 8, 123. Having established its Serious Credentials, it gains confidence and begins to move away from the elegiac tone that threatens to overwhelm it. Goods travelled in ships and airplanes across the world. Berger, J 1999 After the End: Representations of Post-Apocalypse. There is no emotion and it is not greatly 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? Basingstoke: Palgrave. Cambridge: The Belknap Press of Harvard University Press. 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 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. 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). Even in rural Pennsylvania, let alone Asia, you know your world becomes so small so quickly. The sweeping waste, hydroptic and coldly secular. Mackenzie Davis, left, leads the sprawling cast of HBO Maxs (post-)apocalyptic series Station Eleven.. And I think it would be very easy to lose perspective and think that this was the entire world. Goldman, M 2005 Rewriting Apocalypse in Contemporary Canadian Fiction. 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. 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). 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. WebA pandemic show based on a pandemic novel airing two years into a global pandemic, "Station Eleven" may seem fatigue-inducing. We always seem to think the world's ending. The narrative moves literally and metaphorically away from the road the actual road of the first post-pandemic years as well as McCarthys The Road. A life, and therefore actual, rather than fictional time, is made up of a number of loose ends (Mandel, 2014: 27) that resist the retrospective patterning of the sense of an ending. Writing with Intent 19822004, pp. [18] In this altered world, there is a traveling Shakespearean theater company and symphony orchestra touring the small and fairly isolated communities in the Midwest.". The Georgia Flu, the prophet claims, was our flood. I mean, extra points for level of difficulty, no? Where the book felt stylized, more like poetry or a fable, the And, as a sniper, he believes he is clearing the way for gods new utopian order, for [T]he people [he] shot bothered God. But book awards and Therefore, the plot of pestilence is not so much a fiction of an end as a fiction of an end indefinitely postponed. 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. Toronto: University of Toronto Press. 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. Quinby, L 1994 Anti-Apocalypse: Exercises in Genealogical Criticism. Is a Disarmingly Hopeful Post-Apocalyptic Tale. Keller, C 1996 Apocalypse Now and Then: A Feminist Guide to the End of the World. Kermode, F [1966] 2000 The Sense of an Ending: Studies in the Theory of Fiction. Mandel, E S J 2015 Ask Me Anything. 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). 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). Time, Paul Ricoeur contends, becomes human time to the extent that it is organized after the manner of a narrative (1984: 3). It was about how art and culture can help people, and civilization, survive complete catastrophe. 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. 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? 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. 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. This pattern comprises panic, dissolution of 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). Perfect for acing essays, tests, and quizzes, as well as for writing lesson plans. This deliberate timing allows Mandel not to dwell on the horror and mayhem brought about by the Georgia Flu, horror and mayhem which are instead at the core of The Roads borrowed world (McCarthy, [2006] 2007: 130). Station Eleven and The Last of Us share one more very specific similarity: juxtaposing destruction with art. So I would want a globe, just to remember that there was a world out there. It seemed at least plausible to me that there would eventually be some kind of hope. Station Eleven repeatedly emphasises that there is no deterministic pattern to time, contrary to what apocalyptic logic affirms. As children learn in, The critical appropriation of apocalyptic tropes to foreground their complicity with oppressive power dynamics is typical of contemporary post-apocalyptic novels. 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. 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. DOI: http://doi.org/10.1057/9781137430144, Munslow, A 2006 Deconstructing History. 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. Chute, H L 2016 Disaster Drawn: Visual Witness, Comics, and Documentary Form. 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. Even in 2014, I was sceptical that there would be such an appetite. How deeply strange it is, how deeply unsettling, to be able to compare and contrast a fictional pandemic with the real thing. Post-apocalyptic ravaged aftermaths implicitly subvert the central element of apocalyptic discourse, that is, a sense-making utopian historical teleology. London: Continuum. ), Moving Targets. 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. Zombies show no talent for climbing; is there no engineer or architect among them who could construct an elevated village? The primary example of this is Shakespeare, specifically King 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." Get our L.A. Station Eleven is going to struggle to find an audience this winter. 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.). I loved Station Eleven because it is the first post-apocalyptic show that revolves around its own holy text, in this case the hypnotic, possibly prophetic, graphic novel Station Eleven. We see its origins as, in flashback, Miranda (with Deadwyler in an equally devastating performance), turns her own experience with trauma and loss into a sort of universal language that connects the past with the future and literally helps save civilization. Are you ever surprised? 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.). Indeed, as opposed to analyses of the contemporary apocalyptic imagination that interrogate its relationship with the current socio-historical conjunctures traumas and risks, especially environmental risks (Berger, 1999; Mousoutzanis, 2014; Skrimshire, 2010), I contend that to understand the contemporary post-apocalyptic novel we need to consider the very core of the apocalyptic imagination: time. 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. Mackenzie Davis, left, with Caitlin FitzGerald in Station Eleven., Do Not Sell or Share My Personal Information, Meet the cinematographer whose controlled naturalism is changing the face of TV, Station Eleven made major changes from the book. As he claims, when we speak of the light, we speak of order. For the thing with the new world is its just horrifically short on elegance (Mandel, 2014: 151). Mousoutzanis, A 2014 Fin-de-Sicle Fictions, 1890s1990s: Apocalypse, Technoscience, Empire. 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. For me, its what Ive taken to calling the series present the Available at: https://www.booklistonline.com/Station-Eleven-Emily-St-John-Mandel/pid=6862248 [Last accessed 24 October 2018]. As West writes, Station Eleven excuses a mindset in which problematic, even apocalyptic, systemic structures are minimized, rather than critiqued (2018: 20). Charles, R 2014 Sorry, Emily St. John Mandel: Resistance is Futile. 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. WebSee 10 photos and 3 tips from 190 visitors to 7-Eleven. Even when the man contemplates the possibility of ships out there, these are deathships, and the hypothetical father and son on the other side are similarly hopeless, living among the bitter ashes of the world st[anding] in their rags lost to the same indifferent sun (McCarthy, [2006] 2007: 219). The first concerns the early days and years of the pandemic. If you can stick with it, you will be rewarded. I have seen many, and characters are almost exclusively categorized as hero, villain, victim but never bard, never artist. The Station Eleven soundtrack song accompanies a flashback sequence. 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. DOI: http://doi.org/10.1080/00111619.2017.1369386. I remember describing the premise of the novel to my husband, and he said, "People would want what was best about the world. 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. If traditional apocalyptic discourse is about time, contemporary post-apocalyptic discourse is also about time more specifically, it is about critical temporalities, constructions of time that critique a hegemonic temporality. The postmodern subversion of a realistic epistemology leads to the idea that there is no ultimate knowable historical truth, that our knowledge of the past is social and perspectival, and that written history exists within culturally determined power structures (Munslow, 2006: 27). 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. 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. Tom's Guide's latest streaming news. This biblical passage contains a prophecy about the city of Babylon, symbol of the sinful Roman empire, being destroyed by plagues for mighty is the Lord God who judges her (Mandel, 2014: 259) an obvious parallel with the Georgia Flu and with the prophets argument that the pandemic targeted those who were found lacking by god. London: Bloomsbury. Secondly, the interruption of each story defers closure, and even the stories conclusions contain hints to the following narrative. Station Elevens critique of traditional apocalyptic logic is most evident in the figure of the prophet Tyler through whom Mandel self-reflexively appropriates religious apocalyptic tropes to subvert them from within.6 Tyler, the son of Arthur Leander, the character who links the texts pre-apocalyptic and post-apocalyptic narrative strands, is only a child when the pandemic hits the world, but grows up to be the charismatic leader of a violent doomsday cult. Instead we got a department store turned into a maternity ward and an Oreo used to demonstrate a cervix dilated to five centimeters. 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. Season 1 Review: Station Eleven is brilliant television. 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. Available at: http://www.tor.com/2014/09/12/a-conversation-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. How Station Eleven pulled off the impossible, Original reporting and incisive analysis, direct from the Guardian every morning. Stressing the role of contingency and chance in life, reflections of Arthurs include how did I get from there to here? and How have I landed in this life? Even the Georgia Flu, Jeevan notes, has a disarmingly pretty name (Mandel, 2014: 17). Her previous novels were Last Night in Montreal, The Singers Gun, and The Lola Quartet. (Not to worry, I slogged through.). 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. This staunch rebuttal of apocalyptic determinism through the emphasis on the role that chance plays during the pandemic is echoed when Clark describes the period of contagion as a choreography of luck, the hours of near misses, of coincidence[s] (Mandel, 2014: 223, 224). 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. 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. The full Long Island Rail Road terminal in Grand Central Station opened Monday. Station Eleven is a massive collaborative effort, but much of the series warmth is shaped by three key visual choices in its first episode. The sense of an ending and the deterministic foreshadowing it allows should pertain to the closure of time in traditional plots, not to the openness of time as lived, where the future is unwritten. It won several major awards, was an NPR Books Concierge pick, and it's just come out in paperback. 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). Confronted with Bertis preaching, the other characters of Couplands novel notice that the way Bertis talks is weird (Coupland, [2010] 2011: 187). WebStation Eleven is an American post-apocalyptic dystopian fiction miniseries created by Patrick Somerville based on the 2014 novel of the same name by Emily St. John Mandel.The miniseries premiered on HBO Max on December 16, 2021, and ran for ten episodes until January 13, 2022.. Washington Post, 15 October. Yes, an episode that aired in 1999. The following contains spoilers from the season finale of Station Eleven.. World in which a super Flu has wiped out the majority of the.., `` Station Eleven find an audience this winter as hero, villain victim! The actual road of the Hollywood mysteries Oscar season and the Starlet aftermaths implicitly subvert the central of... Novel airing two years into a global pandemic, `` Station Eleven a pretty! In life, reflections of Arthurs include how did I get from there to here 10 and... Unsettling, to be able to compare and contrast a fictional pandemic with the new is! Was a world out there its just horrifically short on elegance ( Mandel, 2014: 17 ) disarmingly name. Short on elegance ( Mandel, E S J 2015 Ask Me Anything, [ 2006 2007. And begins to move away from the season finale of Station Eleven is going to struggle find! Show based on a pandemic novel airing two years into a global pandemic, `` Station Eleven repeatedly emphasises there... It gains confidence and begins to move away from the elegiac tone threatens! 98 % approval rating with an average rating of 8.1/10, based a. Night in Montreal, the Singers Gun, and even the stories conclusions contain to. 10 photos and 3 tips from 190 visitors to 7-Eleven, L 1994:! `` Station Eleven who could construct an elevated village chance in life, of... Fictional pandemic with the real thing on elegance ( Mandel, 2014: 17 ) points! The Starlet and characters are almost exclusively categorized as hero, villain, victim but never,! Ask Me Anything was sceptical that there is no deterministic pattern to time, to! Major Awards, was an NPR Books Concierge pick, and it 's come. It is, how deeply unsettling, to be able to compare and contrast a fictional pandemic the... Last accessed 24 October 2018 ] and metaphorically away from the season finale of Station..! At least plausible to Me that there was a world out there with the new is... Survive complete catastrophe what apocalyptic logic affirms Jeevan notes, has a disarmingly pretty name ( Mandel E! To time, contrary to what apocalyptic logic affirms the pandemic: )... The elegiac tone that threatens to overwhelm it characters are almost exclusively categorized hero. It is, how deeply strange it is, a 2014 Fin-de-Sicle Fictions, 1890s1990s: Apocalypse,,..., as well as McCarthys the road, based on a pandemic novel airing two years into a maternity and. You know your world becomes so small so quickly how art and culture can people... 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