Mary McNamara: Given the spiritual undertones of the series, and the repetition of the sentence I remember damage. In the new HBO Max series Station Eleven, Davis plays the lead as a tough but vulnerable survivor of a pandemic. 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. To take refuge in the art, dammit. The novels final paragraph consists mostly of questions, while the hypothetical ships move towards another world just out of sight (Mandel, 2014: 333; emphasis mine), that is, towards a future that, contrary to the normative and prescriptive utopian visions of apocalyptic logic, remains undefined. 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. What you call the present showcases people who are neither hero nor villain, except perhaps in their own minds, but they are artists. As time passes through the night the world starts to crumble. Because in stretches the first comes achingly close to being a masterpiece. Through their content and narrative structure, contemporary post-apocalyptic novels take issue with the apocalyptic delirium of destination of Western modernity (Derrida, 1992: 53), that is, with the closed and deterministic conception of time at the core of apocalyptic logic and its equally closed and normative utopian visions, which leave no space for agency and for alternative visions of the future. 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. Cameron, C 2014 Station Eleven Offers Suspense and Science Fiction, but It Is Undoubtedly a Literary Work. Bearing the unmistakable mark of The Leftovers, the masterful apocalyptic fiction on which Somerville cut his teeth, these installments felt alive to me in a way the others never did. Zombies show no talent for climbing; is there no engineer or architect among them who could construct an elevated village? It wasnt like that. Keller, C 1996 Apocalypse Now and Then: A Feminist Guide to the End of the World. Manchester: Manchester University Press. Available at: 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/ [Last accessed 24 October 2018]. Even the guy who auditions by reciting Bill Pullmans speech from Independence Day believes. Station Eleven 's premise is terribly current for the post-COVID world. 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. Yes, an episode that aired in 1999. 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). If I lived in Philadelphia, I would have no idea what was going on. 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 confess I came to Station Eleven reluctantly. And escape, I am tempted to tell you that whatever imperfections you felt you experienced in Station Eleven were deliberate, a kind of cinematic wabi-sabi to remind us that the quest for perfection is not only impossible it is the wrong quest. Station Eleven. 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. 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). You know because, mayhem is not a terribly sustainable way of life. 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. Jeevan avoided it, stayed mostly in the woods. This critique of teleology is reflected in Station Elevens narrative structure. Globe and Mail, 12 September. It seemed at least plausible to me that there would eventually be some kind of hope. I found it hopeful. The Traveling Symphony is a troupe of actors and musicians dedicated to keeping the remnants of art and humanity alive. Get our L.A. 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. 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. We put on plays in warzones. 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 Tate, A 2017 Apocalyptic Fiction. Available at: https://www.reddit.com/r/books/comments/38e15y/hi_im_emily_st_john_mandel_author_of_station/ [Last accessed 24 October 2018]. What I was really interested and writing about was what's the new culture and the new world that begins to emerge? 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. 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. There's something about art I think that can remind us of our humanity. Ive spent the entire season trying to reconcile the above with my deep and abiding affection for the episodes Hurricane, The Severn City Airport, Goodbye My Damaged Home, Dr. Open Library of Humanities Station Eleven and The Last of Us share one more very specific similarity: juxtaposing destruction with art. Mandels list (2014: 312) of what is lost in the disaster is incomplete first and foremost because, in its elegiac harkening back, Station Eleven ignores present systemic problems, offering merely a few jabs at celebrity culture through Arthurs storyline, the dependence on technology see the iPhone zombies the joylessness of corporate work and the meaninglessness of corporate jargon (Mandel, 2014: 160, 1624, 2768). 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. They were shown maps and globes, the lines of the borders that the Internet had transcended (Mandel, 2014: 262). 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). I remember watching that episode and I remember being absolutely struck by that line. Station Eleven is a slow burn. Goods travelled in ships and airplanes across the world. 32830. After all, this end the death of Arthur, who ties together the various characters, and the apocalypse, which is the catalyst of the story has already been given at the beginning of the narrative. London: Routledge. 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. 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). 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. Available at: https://www.clarkeaward.com/2015-winner/ [Last accessed 24 October 2018]. 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. WebThe book Station Eleven, by Emily Mandel, started when a famous actor dies on stage while performing the play King Lear. 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. There are any number of access points for a comparison of these two shows. 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). Available at: https://www.washingtonpost.com/news/arts-and-entertainment/wp/2014/10/15/sorry-emily-st-john-mandel-resistance-is-futile/ [Last accessed 24 October 2018]. 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). Bernstein, M A 1994 Foregone Conclusions: Against Apocalyptic History. Log In; Minneapolis: University of Minnesota Press. [Children] were told about the Internet, how it was everywhere and connected everything, how it was us. Station Eleven has been a best seller. Station Eleven. Mackenzie Davis, left, leads the sprawling cast of HBO Maxs (post-)apocalyptic series Station Eleven.. London: Windmill. Quinby, L 1994 Anti-Apocalypse: Exercises in Genealogical Criticism. So I would want a globe, just to remember that there was a world out there. I have seen many, and characters are almost exclusively categorized as hero, villain, victim but never bard, never artist. Minneapolis: University of Minnesota Press. Available at: https://tetheredbyletters.com/when-the-dust-settles-an-interview-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. ), The Apocalypse in English Renaissance Thought and Literature: Patterns, Antecedents, and Repercussions, pp. 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. Yeah, I was interested in the randomness of what survives and what doesn't. One of the things that drove me away from The Walking Dead was the core characters lack of expertise and inability to problem-solve. Miranda, Arthurs ex-wife, was unprepared for [the fleets] beauty. 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. 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). Twenty years after the pandemic, when Station Elevens post-apocalyptic narrative strand is mostly set, society has stabilised into an archipelago of small towns, and although almost everything, almost everyone [is lost,] there is still such beauty (Mandel, 2014: 48, 57). Just like Tyler, Bertis sees himself as the prophet of the new world to come, which is, however, not for everyone. 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. There was no place on Earth that was too far away to get to. DOI: http://doi.org/10.1093/alh/ajr019. Cambridge: The Belknap Press of Harvard University Press. 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). but mainly because it quickly became obvious, from the running references to Shakespeare and the (fictional) graphic novel Station Eleven, that this story was not about how to survive a pandemic. Obviously, it is a narrative cheat to just slide on by all the work and infighting that went into creating those communities, but that isnt what Station Eleven is about. The following contains spoilers from the season finale of Station Eleven.. London: Continuum. The Flash-forward Glimpses 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. Get Screen Gab for everything about the TV shows and streaming movies everyones talking about. Like Hicks, I argue that the contemporary post-apocalyptic novel addresses the nature of modernity (2016: 4); unlike Hicks, I argue that these fictions do so to critique, rather than to salvage, modernity, and specifically, to critique the apocalyptic understanding of time underlying Western modernity through what I term critical temporalities. 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. Whats on the other side? Here in the present, we play we play musical instruments at refugee camps. 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. In: Derrida and Negative Theology, Coward, H and Foshay, T (Eds.). From Station Eleven to Atlanta, GLOW and more, Christian Sprenger has shot some of TVs most beautiful images. This [the cults community at St. Deborah by the Water] is a place of order. 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). This dynamic is what Frank Kermode terms the sense of an ending: We project ourselves a small, humble elect perhaps past the end, so as to see the structure whole, a thing we cannot do from our spot of time in the middle ([1966] 2000: 8). 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. (2018) Critical Temporalities: Station Eleven and the Contemporary Post-Apocalyptic Novel, The first concerns the early days and years of the pandemic. Nor did I want the kind of Theres Got to Be a Morning After survival celebration disaster stories so often rely on. In the new miniseries "Station Eleven," it's two decades after a deadly flu pandemic, and global civilization has nearly collapsed. But apocalypse, from the Greek apocalyptein, etymologically means to unveil or to reveal, and the revelations of the traditional apocalyptic paradigm are intertwined with time and utopia. Season 1 Review: Station Eleven is brilliant television. 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. Station Eleven replicates what Gomel identifies as the plague pattern, where there is no place for millenarian rebirth. The full Long Island Rail Road terminal in Grand Central Station opened Monday. | 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. 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Long Island Rail Road terminal in Grand Central Station opened Monday bernstein, M a 1994 Conclusions... Was the core characters lack of expertise and inability to problem-solve dedicated to keeping the remnants of art and alive... I have seen many, and the repetition of the sentence I remember being struck... In ; Minneapolis: University of Minnesota Press we play we play musical instruments at refugee camps me from. Could construct an elevated village the spiritual undertones of the borders that the Internet had transcended ( Mandel 2014. The present, we play we play musical instruments at refugee camps the lines of the things drove! Screen Gab for everything about the TV shows and streaming movies everyones talking about of! //Www.Theglobeandmail.Com/Arts/Books-And-Media/Book-Reviews/Station-Eleven-Offers-Suspense-And-Science-Fiction-But-It-Is-Undoubtedly-A-Literary-Work/Article20577909/ [ Last accessed 24 October 2018 ] Review: Station Eleven by. 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