We start to plumb the depths of Kirstens soul, forged by suffering, saved by the Symphony and ready to save it, too, by any means necessary. The primary example of this is Shakespeare, specifically King Clark speaks to himself in bed next to Miles. Station Eleven. Kermode, F [1966] 2000 The Sense of an Ending: Studies in the Theory of 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]. She had ample experience to draw from. Brennan: Look, Im not calling Station Eleven a failure, or a disaster, or even a half-assed genre entry. 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. Station Elevens plot itself consists of fragments from before and after the apocalypse, which challenges the teleological linearity of apocalyptic temporality. 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. Tom's Guide's latest streaming news. On the recent popularity of post-apocalyptic fictionA suggestion that I hear quite often is that our interest in post-apocalyptic fiction is a natural expression of the anxiety we feel. It may become antiapocalyptic in its refusal of the transition from the tribulation to the millennium (2000: 410, 412). It won several major awards, was an NPR Books Concierge pick, and it's just come out in paperback. Both texts expose how apocalyptic discourse is fabricated to push ideological agendas. Station Eleven has been a best seller. I was very deliberate in the timing of the narrative: its set mostly fifteen and twenty years after the collapse, not during or in the immediate aftermath (Mandel, 2015: n.pag.). I confess I came to Station Eleven reluctantly. Events unfurl like a Snow and stopped cars with terrible things in them. 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). Confused? To take refuge in the art, dammit. 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. DOI: http://doi.org/10.2307/827840. Frankly I was grateful to skip all the store-looting and scavenging we are inevitably treated to in these kinds of tales. 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. 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. Log In; I very purposely set much of the action 15 and then 20 years after that flu pandemic. Season 1 Review: Station Eleven takes Mandels book and amps up its sense of a cozy post-apocalypse, where humanity comes together, rather than drifting 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. Yet, just like The Road, Station Eleven articulates a critical temporality that subverts the utopian teleology of apocalyptic logic. Station Eleven features explicit intertextual references to biblical apocalyptic narratives, from the Flood, in Genesis, to Revelation. At first, Station Eleven is bewildering, all discombobulating cuts between the present and what seems to be a desolate, sparsely populated future. 2010 Future Ethics: Climate Change and Apocalyptic Imagination. 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). Emily St. John Mandel's new novel, Station Eleven, opens with a vain actor and is there really any other kind? What you call the present showcases people who are neither hero nor villain, except perhaps in their own minds, but they are artists. Her work has appeared in numerous anthologies, including The Best American Mystery 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). 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. The peculiarity of the novel is that all the stories with the exception of the sixth, the post-apocalyptic one, situated in the middle are interrupted in order to give way to the following one in a chronological order, and are then resumed in reverse order in the second half of the book. 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. You know, it's interesting. He likes the thought of ships moving over the water, towards another world just out of sight (Mandel, 2014: 33233; emphasis mine). Zombies show no talent for climbing; is there no engineer or architect among them who could construct an elevated village? The beauty of it (Mandel, 2014: 247, 135). The road was all travellers walking with shell-shocked expressions, children wearing blankets over their coats, people getting killed for the contents of their backpacks, hungry dogs (Mandel, 2014: 1934). 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. Ermarth, E D 1992 Sequel to History: Postmodernism and the Crisis of Representational Time. 2nd ed. Yes, there were dangers there, but no doubt there was also a lot of food and, potentially, fellow nonmurderous survivors. The series creator explains why. If you can stick with it, you will be rewarded. Station Elevens ending is key to the texts deconstruction of utopian teleology. 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. 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). In the new miniseries "Station Eleven," it's two decades after a deadly flu pandemic, and global civilization has nearly collapsed. Public Books, 15 June. WebRotten Tomatoes reports a 98% approval rating with an average rating of 8.1/10, based on 54 critic reviews. The second timeline takes us 20 years in the future, when Kirsten (now played by Mackenzie Davis) is part of a troupe of actors known as the Traveling Symphony, who tour the midwest putting on Shakespeare plays Hamlet, when we meet them to the scattered plague survivors. 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. How? 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). 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. This passage is another intertextual reference to The Road. Yet, she explains, it was important to me to not write that book [The Road]. 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? 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). Montral: McGill-Queens University Press. Frame, 26(1): 929. On the Traveling Symphony's motto, "survival is insufficient"It is not from Shakespeare. Available at: https://www.clarkeaward.com/2015-winner/ [Last accessed 24 October 2018]. Different episodes concentrate on the experiences of different characters, but the through line is young Kirsten (an absolutely extraordinary performance from 13-year-old Matilda Lawler in her first substantial role), a child actor who is abandoned by her chaperone when a stage performance of King Lear is chaotically truncated by the death of the lead, Arthur (Gael Garca Bernal). Having established its 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. Skrimshire, S (Eds.) Los Angeles, Whats on Khlo Kardashians face? There is nothing in the history of human endeavor, not the Bible, Shakespeare or the annals of HBO, to suggest that we are capable of the regeneration it depicts in the span of one lifetime, much less 20 years. For me, its what Ive taken to calling the series present the 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. It wasnt like that. 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. You are right about how the timeframe jumps from immediate crisis to a relatively established recovery. 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. Secondly, the interruption of each story defers closure, and even the stories conclusions contain hints to the following narrative. Gomel, E 2010 Postmodern Science Fiction and Temporal Imagination. Station Eleven and The Last of Us share one more very specific similarity: juxtaposing destruction with art. But series creator Patrick Somerville had her blessing to change it. But it wasnt part of his plan. London: Routledge. How deeply strange it is, how deeply unsettling, to be able to compare and contrast a fictional pandemic with the real thing. For the thing with the new world is its just horrifically short on elegance (Mandel, 2014: 151). Open Library of Humanities, 4(1): 7, 126. We try to make the world make sense for a minute, she explains to young Kirsten. What I was really interested and writing about was what's the new culture and the new world that begins to emerge? Ricoeur, P 1984 Time and Narrative, 1. Minneapolis: University of Minnesota Press. 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. 34268. But book awards and paperback releases are a thing of the past in the world Mandel has created. 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). 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. Twentieth Century Literature, 46(4): 40533. Rather than reading for the end, Mitchell invites us to read Cloud Atlas looking for parallels and connections, from the comet-shaped birthmark that links the protagonists of the various stories to their acts of defiance against the predatory logic that brings humanity to the apocalyptic demise.11 Finally, the chronological ending of the novel the post-apocalyptic future is effaced through the actual ending of Cloud Atlas the nineteenth-century narrative which suggest that the future is not already written. Alter, A 2014 The World is Ending, and Readers Couldnt Be Happier: Station Eleven Joins Falls Crop of Dystopian Novels. 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. Author Emily St. John Mandel was not involved in the adaptation of her hit novel. Furthermore, teleology entails determinism, which compromises the possibility of choices and ethics. Mackenzie Davis, left, leads the sprawling cast of HBO Maxs (post-)apocalyptic series Station Eleven.. 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. 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). Yet Tylers apocalyptic narrative indicates not only the complicity of apocalyptic logic with violence and power structures but also how the appeal of this kind of narrative depends on its promise of a sense-making temporal order. People die alone, with their loved ones unable to be with them, and people grieve alone. London: Continuum. Hoberek, A 2015 The Post-Apocalyptic Present. It is almost more discomfiting, however, to be able to point now to moments the creators get wrong. Goldman, M 2005 Rewriting Apocalypse in Contemporary Canadian Fiction. 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. This critique of teleology is reflected in Station Elevens narrative structure. In Player One, Bertis justifies his murders through a similar self-righteous moral dualism and teleology. Because in stretches the first comes achingly close to being a masterpiece. 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 podcast, PSR Versus podcast hosts Josh Wigler ( @roundhoward) and LaTonya Starks ( @lkstarks) compare episode 7 of The Last of Us and Station Eleven. With the grown Kirsten serving, when necessary, as something like a one-woman militia, Station Eleven is not without its effective, if sometimes tonally jarring, genre thrills. 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. We put on plays in warzones. It's not that I don't think that there would be a period of absolute mayhem and chaos and horror. 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). Im calling it a partial masterpiece! London: Continuum. De Cristofaro, D 2013 The Representational Impasse of Post-Apocalyptic Fiction: The Pesthouse by Jim Crace. Published by 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. But Station Elevens apocalypse does not bring any sense-making order. 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? 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). If nothing else, its pleasant to consider the possibility. These gaps keep spaces of possibility open in the novels structure, indicating Mitchells intention to debunk apocalyptic determinism and narrative foreshadowing. WebA pandemic show based on a pandemic novel airing two years into a global pandemic, "Station Eleven" may seem fatigue-inducing. 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