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. They angered Him (Coupland, [2010] 2011: 134) although, it turns out, he is also motivated by a much more mundane reason: he wants to kill his father, who ran off with his wife. Atwood, M 2004 Writing Oryx and Crake. Published in 2014 to critical and popular success, Emily St. John Mandels Station Eleven is part of a widely-discussed, growing corpus of post-apocalyptic novels written by authors who do not typically write science fiction.1 In what Andrew Hoberek (2011) identifies as the genre turn of contemporary fiction, the post-apocalyptic genre has moved from the margins (tacky science-fiction) into the mainstream (legitimate, widely-recognized and practiced speculative fiction) (Buell 2013: 9), so much so that Frederick Buell frames it as a cultural dominant.2 As Andrew Tate puts it, contemporary narrative is haunted by dreams of a future that is a place of ruin (2017: 2). But I fear the social future Station Eleven imagines is implausible, if not disingenuous. But you know, here I am in Philadelphia this afternoon. Station Eleven and The Last of Us share one more very specific similarity: juxtaposing destruction with art. 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). 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. Every individual experiences what she or he experiences and deals with it in a different way. 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.). Thirdly, while in the first half of Cloud Atlas the chronological order of the narratives encourages readers to look for clues foreshadowing an ending which will integrate, and make sense of, the various strands, there are gaps in the history traced by the novel and the shifts from one era to the other remain unexplained. Having established its Serious Credentials, it gains confidence and begins to move away from the elegiac tone that threatens to overwhelm it. 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). 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? Yet, she explains, it was important to me to not write that book [The Road]. Plymouth: Lexington. Perhaps it's wishful thinking on my part, but I did like the idea that a Shakespearean company might be able to make it. HBO Maxs beguiling new mini-series is about a pandemic, but dont let that scare you off. One of the prophets followers, who dies revelling in Revelations promise of a new heaven and a new earth (Rev. 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. Theres nothing you cant survive, because theres nothing that you will not do (Mandel, 2014: 139). At first, Station Eleven is bewildering, all discombobulating cuts between the present and what seems to be a desolate, sparsely populated future. An uplifting pandemic drama? 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. Published by 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. Cloud Atlas consists of six narratives set between the nineteenth century and a distant post-apocalyptic future. Station Eleven 's premise is terribly current for the post-COVID world. Oxford: Oxford University Press. So that line became almost the thesis statement of the entire novel. We try to make the world make sense for a minute, she explains to young Kirsten. 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). Now I am more so, but beyond the practical, the questions posed by the book and the show about how much of a refuge art can provide, what we should work to preserve, what makes a civilisation and what, ultimately, makes life worth living, remain interesting ones. 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. Open Library of Humanities, 4(2): 8, 123. McCarthy, C [2006] 2007 The Road. It won several major awards, was an NPR Books Concierge pick, and it's just come out in paperback. I read, If you want the girl next door, go next door: Lori Petty on Station Eleven and surviving Hollywood, Anuplifting pandemic drama? Stepping over corpses (Mandel, 2014: 193) a description that echoes the snowy wasteland of The Road, barren, silent, godless, strewn with cars in which people were burnt alive (McCarthy, [2006] 2007: 4, 273). Jeevan avoided it, stayed mostly in the woods. Cambridge: The Belknap Press of Harvard University Press. Berger, J 1999 After the End: Representations of Post-Apocalypse. The following contains spoilers from the season finale of Station Eleven.. Rosen, E K 2008 Apocalyptic Transformation: Apocalypse and the Postmodern Imagination. 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. 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. 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. 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). By opening with the apocalyptic end that is foreshadowed by these sentences, Station Eleven highlights not only how the temporal order of the sense of an ending can be imposed on the randomness of time solely retrospectively, but also how this order ultimately implies a future that is already written. Arthur C Clarke Award 2015 2015 Winner. | Privacy Policy |, Publication Ethics and Malpractice Statement, http://www.nytimes.com/2014/09/06/books/station-eleven-joins-falls-crop-of-dystopian-novels.html, http://www.theglobeandmail.com/arts/books-and-media/book-reviews/station-eleven-offers-suspense-and-science-fiction-but-it-is-undoubtedly-a-literary-work/article20577909/, https://www.washingtonpost.com/news/arts-and-entertainment/wp/2014/10/15/sorry-emily-st-john-mandel-resistance-is-futile/, http://doi.org/10.1080/00111619.2017.1369386, https://tetheredbyletters.com/when-the-dust-settles-an-interview-with-emily-st-john-mandel/, http://www.publicbooks.org/the-post-apocalyptic-present/, https://www.booklistonline.com/Station-Eleven-Emily-St-John-Mandel/pid=6862248, https://www.reddit.com/r/books/comments/38e15y/hi_im_emily_st_john_mandel_author_of_station/, http://www.tor.com/2014/09/12/a-conversation-with-emily-st-john-mandel/, Special Collection: Station Eleven and Twenty-First-Century Writing, For the sake of simplicity, in what follows contemporary post-apocalyptic novel refers to the subject of this article, post-apocalyptic fictions written by non-SF authors. 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. 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 Georgia Flu, the prophet claims, was our flood. In the new HBO Max series Station Eleven, Davis plays the lead as a tough but vulnerable survivor of a pandemic. 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). Writing with Intent 19822004, pp. It began to read to me as a tacit acknowledgement that its vision of the future is not as immersive as its vision of the present or past. The red bandanas turn up and disappear in one fell swoop to provide a cliffhanger between episodes; ditto the strained mystery of the the Prophet. Thus, the critical temporalities of contemporary post-apocalyptic fictions challenge the hegemonic temporality of modernity: time as a neutral, homogeneous and teleological continuum. Available at: https://tetheredbyletters.com/when-the-dust-settles-an-interview-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. Even the guy who auditions by reciting Bill Pullmans speech from Independence Day believes. Ricoeur, P 1984 Time and Narrative, 1. 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. Station Eleven , the HBO Max show whose finale airs Thursday, is something else entirely. Globe and Mail, 12 September. Because in the now, the before is all we have. 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. Mackenzie Davis, left, leads the sprawling cast of HBO Maxs (post-)apocalyptic series Station Eleven.. 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. There are any number of access points for a comparison of these two shows. Is a Disarmingly Hopeful Post-Apocalyptic Tale. 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. In a way, Station Eleven is an interesting Rorschach test of apocalyptcisms appeal. In part because the partnership of Jeevan and Kirsten was so odd and hypnotic that Goneril dress! I found it hopeful. 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 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. 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. 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. 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. 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. 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. Are you ever surprised? As the season unfurled, though, I found myself frustrated by a structure that, roughly speaking, toggled between the pandemics onset and a time, 20 years on, in which Kirsten and her Traveling Symphony have forged a new society through the cyclical performance of plays. 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.. The Road is a recurrent point of comparison for Station Eleven in academic analyses and reviews alike (Tate, 2017: 13233; Alter, 2014; Huntley, 2014). Quinby, L 1994 Anti-Apocalypse: Exercises in Genealogical Criticism. To believe that the series is guilty of doubtful creative choices is not to spurn art its to know what its capable of and to expect more of it. 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. London: Continuum. 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). 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). WebA pandemic show based on a pandemic novel airing two years into a global pandemic, "Station Eleven" may seem fatigue-inducing. Station Eleven. Coupland, D (2010) 2011 Player One. 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. Your purchase helps support NPR programming. Gomel, E 2000 The Plague of Utopias: Pestilence and the Apocalyptic Body. 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 I remember watching that episode and I remember being absolutely struck by that line. This is a sci-fi book, there should be unknowns and mystery, this book lacked in that field greatly. You know, it's interesting to think about what survives. Hoberek, A 2015 The Post-Apocalyptic Present. 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). Keller, C 1996 Apocalypse Now and Then: A Feminist Guide to the End of the World. 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 doi: https://doi.org/10.16995/olh.206, Download XML 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. The full Long Island Rail Road terminal in Grand Central Station opened Monday. The following is from Emily St. John Mandels novel Station Eleven which was a finalist for a 2014 National Book Award. 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. From Station Eleven to Atlanta, GLOW and more, Christian Sprenger has shot some of TVs most beautiful images. ), The Apocalypse in English Renaissance Thought and Literature: Patterns, Antecedents, and Repercussions, pp. Something that came up for me as I was writing this book was how incredibly local your world would become. Goes Out newsletter, with the week's best events, to help you explore and experience our city. WebSee 10 photos and 3 tips from 190 visitors to 7-Eleven. That we secretly desire a situation in which this entire apparatus is blown up and we all start over again on perfect equal footing. It could remind us of our civilization. De Cristofaro, D 2013 The Representational Impasse of Post-Apocalyptic Fiction: The Pesthouse by Jim Crace. Foursquare City Guide. I remember describing the premise of the novel to my husband, and he said, "People would want what was best about the world. On the other hand, the key element of the novels final passage is the sense of possibility (see my emphasis below), rather than the totalising teleological determinism of apocalyptic logic: is it possible that somewhere there are ships setting out? Manchester: Manchester University Press. "No cities," she tells NPR's Scott Simon. (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. You may occasionally receive promotional content from the Los Angeles Times. 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