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. "Virginia Lottery tickets are available for purchase here!" 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. Huntley, K 2014 Station Eleven: Booklist Review, August. Learn exactly what happened in this chapter, scene, or section of Station Eleven and what it means. Station Eleven is going to struggle to find an audience this winter. 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. 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. However, as The Ringer's Alison Herman wrote, the show leverages our own experience of the pandemic to 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. So that line became almost the thesis statement of the entire novel. To take refuge in the art, dammit. If nothing else, its pleasant to consider the possibility. 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. Zamora, L P 1989 Writing the Apocalypse: Historical Vision in Contemporary U.S. and Latin American Fiction. Station Eleven is a massive collaborative effort, but much of the series warmth is shaped by three key visual choices in its first episode. It's that I don't think that period would last forever everywhere on earth. I remember watching that episode and I remember being absolutely struck by that line. 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. People die alone, with their loved ones unable to be with them, and people grieve alone. Even the Georgia Flu, Jeevan notes, has a disarmingly pretty name (Mandel, 2014: 17). London: Continuum. 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. It received critical acclaim and was nominated for seven Primetime Traditional apocalyptic narratives reveal a utopian teleology to history, a conception of time that deeply informs western modernity and its metanarratives. Emily St. John Mandel. Derrida, J 1992 Of an Apocalyptic Tone Newly Adopted in Philosophy. 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. 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. Or, more precisely, it is half masterpiece, half not. I confess I came to Station Eleven reluctantly. 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). Despite the tidy conclusion, I can only hope creator Patrick Somerville and HBO Max are in negotiations for a second season. Matt Brennan is a Los Angeles Times deputy editor for entertainment and arts. 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. 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. People with chaos in their hearts cannot abide here (Mandel, 2014: 61). Hoberek, A 2015 The Post-Apocalyptic Present. who dies of a heart attack onstage as he plays King Lear in Toronto. Station Eleven replicates what Gomel identifies as the plague pattern, where there is no place for millenarian rebirth. The things Jeevan sees vividly recall The Road. So I would want a globe, just to remember that there was a world out there. Maybe, though people appear to be living in small, mostly primitive communities and the fact that the story confines itself to the shoreline of Lake Michigan (at least I think its Michigan) serves the narrative both spiritually and logistically. Available at: http://www.tor.com/2014/09/12/a-conversation-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. You know, it's interesting. The following is from Emily St. John Mandels novel Station Eleven which was a finalist for a 2014 National Book Award. 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 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 Are you ever surprised? Berkeley: University of California Press. We put on plays in warzones. 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. 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. 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.). Just like Tyler, Bertis sees himself as the prophet of the new world to come, which is, however, not for everyone. In: Patrides, C A and Wittreich, J (Eds. 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. 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. This critique of teleology is reflected in Station Eleven s narrative structure. Time, Paul Ricoeur contends, becomes human time to the extent that it is organized after the manner of a narrative ( 1984: 3 ). 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). The bulk of the series is set twenty years after a flu pandemic brought human civilization as we know it to an end. In a way, Station Eleven is an interesting Rorschach test of apocalyptcisms appeal. American Literary History, 23(3): 48399. 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. The author has no competing interests to declare. | ISSN: 2056-6700 | 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). 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). 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. 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. But I fear the social future Station Eleven imagines is implausible, if not disingenuous. Or at least part of it is. 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). Goldman, M 2005 Rewriting Apocalypse in Contemporary Canadian Fiction. 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). Here in the present, we play we play musical instruments at refugee camps. In the very early days, for example, Jeevan and Kirsten go round a supermarket that is full of produce but empty of people. Matt Brennan: With its emotional finale, Unbroken Circle, Station Eleven ties off the loose ends in its sprawling narrative: Tyler (Daniel Zovatto), a.k.a. How? Station Eleven. Get our L.A. 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. Just like McCarthys father and son, Jeevan and [A]lmost everyone was moving south in a silent landscape. Beauty features far more prominently in descriptions and memories of the pre-apocalypse. As time passes through the night the world starts to crumble. "No countries, no internet, no more Facebook, no more email. 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). Though their plague is much more devastating than ours (it has a 99% fatality rate), it is still quite something to see people coughing in enclosed spaces while those nearby bristle, and others wonder about masks or gather supplies so they can hunker in apartments until the virus has burned itself out. Mary McNamara is a culture columnist and critic for the Los Angeles Times. Whats on the other side? They were shown maps and globes, the lines of the borders that the Internet had transcended (Mandel, 2014: 262). 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. 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. Further threads arise from the stories of other settlements one led by Clark and the female actor (Elizabeth, played by Caitlin FitzGerald, who ended up marrying Arthur after an affair they began while he was with Miranda) and begin to be woven together. The critical temporalities of the contemporary post-apocalyptic novel not only expose the apocalyptic conception of history as a narrative construct enmeshed within power structures through their critical appropriation of religious apocalyptic tropes and the subversion of utopian teleology, but, through their structures, these fictions challenge what is an essentially apocalyptic model of narrative dominated by the end and invite us to conceive of history beyond the determinism of the sense of an ending. 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. 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? Heres what to know, From Chris Rock to the SAG Awards. Does Station Eleven depict an unrealistic social regeneration? 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. In this section, I compare Station Elevens narrative structure with that of Mitchells Cloud Atlas.10 Both texts complicate the teleological linearity of apocalyptic narratives to make space for unwritten futures which are key to agency. I mean, extra points for level of difficulty, no? Even the guy who auditions by reciting Bill Pullmans speech from Independence Day believes. 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 By Richard 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. And the reason for that is that I feel that most dystopian fiction tends to dwell on that immediate aftermath of horror and mayhem. Mitchell, D 2004 Cloud Atlas. The goal of traditional apocalyptic logic is to order time and make it intelligible, by disclosing that the whole course of human history is tending towards a final resolution which will make sense of everything that happened before. Open Library of Humanities, 4(1): 7, 126. 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. Id long since grown skeptical of most topical art, often so calculated in its conclusions, but as Omicron surged and 2022 plans were suddenly canceled, Station Eleven began to feel like the first great screen fiction about the pandemic. Post-apocalyptic ravaged aftermaths implicitly subvert the central element of apocalyptic discourse, that is, a sense-making utopian historical teleology. Villainry arrives (via the most frightening performance Ive ever seen, from Daniel Zovatto as the stranger who insists on joining the Traveling Symphony otherwise your friends are going to start to disappear), along with the secret community known as the Museum of Civilisation. Plymouth: Lexington. As West writes, Station Eleven excuses a mindset in which problematic, even apocalyptic, systemic structures are minimized, rather than critiqued (2018: 20). But Station Elevens apocalypse does not bring any sense-making order. Cambridge: Cambridge University Press. London: Picador. You know, it's interesting to think about what survives. 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. 37. London: Sceptre. It's not that I don't think that there would be a period of absolute mayhem and chaos and horror. Hardly by chance, schooling in the post-apocalypse insists on transports and communications that create a hyper-connected world in which borders are meaningless: Satellites beamed information down to Earth. Brennan: Look, Im not calling Station Eleven a failure, or a disaster, or even a half-assed genre entry. Ah, you say no. De Cristofaro, D 2013 The Representational Impasse of Post-Apocalyptic Fiction: The Pesthouse by Jim Crace. Minneapolis: University of Minnesota Press. 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. The Book of Revelation, the final book of the New Testament and the central text of religious apocalypticism, is ultimately not about the catastrophic end of the material world, but rather the revelation of a utopian new world, the New Jerusalem, the divine kingdom which awaits the faithful at the end of history.3 This utopian teleology is central to the Western understanding of time, indeed, [the apocalyptic] vision of history gives rise to history as a theoretical production (Keller, 1996: 89) and the traditional apocalyptic paradigm lies at the very core of secular Western modernity.4 The age of discovery and colonialism is informed by apocalyptic beliefs, as suggested by the trope of the new world (Keller, 1996). WebThe book Station Eleven, by Emily Mandel, started when a famous actor dies on stage while performing the play King Lear. She had ample experience to draw from. Martin Carr We Got This Covered. 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. Kermode, F [1966] 2000 The Sense of an Ending: Studies in the Theory of Fiction. 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). [L]ife on earth is just a bus stop on the way to greater glory or greater suffering (Coupland, [2010] 2011: 152) and Bertis understands his murders as partaking in a divinely-sanctioned separation between the elect and the non-elect. The Station Eleven soundtrack song accompanies a flashback sequence. 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. But then why did the One Ring choose Frodo? The red bandanas turn up and disappear in one fell swoop to provide a cliffhanger between episodes; ditto the strained mystery of the the Prophet. 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. 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. Clark lashes out at Arthur after a bender; the music scores the end of the episode at 00:56. This is, of course, how apocalyptic logic works, with the end ushering in a perfect new world which makes sense of everything that happened before. 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.. Mandel self-reflexively plays with the determinism of the sense of an ending by deploying apocalyptic foreshadowing as a narrative device that connects the various sections. I read, If you want the girl next door, go next door: Lori Petty on Station Eleven and surviving Hollywood, Anuplifting pandemic drama? Indeed, the passages beautiful writing and imagery sublimates and glosses over a production process that relies on the exploitation of cheap labour from the global South, something Mandel merely hints at through the mention of workers somewhere in China and the cadences of a half dozen languages. 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). This adaptation of the astonishingly prescient 2014 bestseller is deeply unsettling, even in the bits it gets wrong. For the thing with the new world is its just horrifically short on elegance (Mandel, 2014: 151). Goods travelled in ships and airplanes across 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. Your purchase helps support NPR programming. And I think it would be very easy to lose perspective and think that this was the entire world. 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.). 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? Lose perspective and think that this was the entire novel Humanities, 4 ( 1 ): 48399 [..., has a disarmingly pretty name ( Mandel, 2014: 17 ) accompanies a flashback sequence Chris Rock the... 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