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. 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. 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 reaction, of course, is a reflection of our own present, in which art seems to swim ceaselessly against the tide. The bulk of the series is set twenty years after a flu pandemic brought human civilization as we know it to an end. Yet, she explains, it was important to me to not write that book [The Road]. Mousoutzanis, A 2014 Fin-de-Sicle Fictions, 1890s1990s: Apocalypse, Technoscience, Empire. 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. Station Eleven and The Last of Us share one more very specific similarity: juxtaposing destruction with art. Tate, A 2017 Apocalyptic Fiction. That we secretly desire a situation in which this entire apparatus is blown up and we all start over again on perfect equal footing. 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. The series creator explains why, Station Eleven, like the Shakespeare that sustains it, is something of a miracle, Unlike Andor, Mandalorian is going all in on Star Wars lore. The author has no competing interests to declare. Toronto: University of Toronto Press. 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). Arthur C Clarke Award 2015 2015 Winner. 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. Twentieth Century Literature, 46(4): 40533. Foursquare City Guide. She had ample experience to draw from. As Mark West points out in another article in this special issue, Clarks reflection addresses but rather miscasts the globalized trade networks in that it fetishizes the beautiful objects at the expense of the workers who make them, workers who are dehumanized into assemblies of working parts (note the emphasis on their hands) (2018: 19, 20). According to Elana Gomel, plague narratives are structured by the logic of iterative mortality that undermines the teleological progression of the apocalypse. Hoberek, A 2015 The Post-Apocalyptic Present. I confess I came to Station Eleven reluctantly. The full Long Island Rail Road terminal in Grand Central Station opened Monday. On the Traveling Symphony's motto, "survival is insufficient"It is not from Shakespeare. The scene in which a dozen women give birth was the before giving way to the future, just as all the scenes in which Miranda struggles to write Station Eleven were. 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? Secondly, the interruption of each story defers closure, and even the stories conclusions contain hints to the following narrative. The Flash-forward Glimpses But you know, here I am in Philadelphia this afternoon. Mandel, E S J 2014 Station Eleven. Charles, R 2014 Sorry, Emily St. John Mandel: Resistance is Futile. DOI: http://doi.org/10.1080/00111619.2017.1369386. If you can stick with it, you will be rewarded. The things Jeevan sees vividly recall The Road. : Shakespeare, Salvagepunk and Station Eleven. How? Griffith, C 2015 When the Dust Settles: An Interview with Emily St. John Mandel, April. Does Station Eleven depict an unrealistic social regeneration? Plymouth: Lexington. As Rachel explains, the sniper is deploying poetic devices, such as rhythm and regularity of speech, in order to have a stronger impact and to quickly and effectively indoctrinate (Coupland, [2010] 2011: 1878). 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. The super flu it depicts may be deadly, but its also swift, running its course in a matter of days. 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. Backstories are filled in notably of Miranda (Danielle Deadwyler), Arthurs lover and the author of the graphic novel (called Station Eleven, but dont let the meta-ness put you off) that has been Kirstens lifeline over her 20 years of post-apocalyptic wandering. An uplifting pandemic drama? And I think it would be very easy to lose perspective and think that this was the entire world. 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. Goldman, M 2005 Rewriting Apocalypse in Contemporary Canadian Fiction. Traditional apocalyptic narratives reveal a utopian teleology to history, a conception of time that deeply informs western modernity and its metanarratives. The Swiss Family Robinson managed, and they were mostly kids! Somewhere around the time Jeevan, her accidental savior, managed to purchase and then bungie-cord together a train of loaded shopping carts and navigate them through many city blocks to his brothers apartment building, I realized I would either have to surrender to an epic quest and all its potential pitfalls, or not. 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. Why, I kept asking myself, are they still living on the ground? 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 ). In the new HBO Max series Station Eleven, Davis plays the lead as a tough but vulnerable survivor of a pandemic. How deeply strange it is, how deeply unsettling, to be able to compare and contrast a fictional pandemic with the real thing. Confronted with Bertis preaching, the other characters of Couplands novel notice that the way Bertis talks is weird (Coupland, [2010] 2011: 187). 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. [Children] were told about the Internet, how it was everywhere and connected everything, how it was us. ), entropy reigns. Author Emily St. John Mandel was not involved in the adaptation of her hit novel. Among the 1% left Himesh Patel and Matilda Lawler in Station Eleven. Im calling it a partial masterpiece! 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. While it is my argument that this challenge to traditional apocalyptic discourse and its model of history is key to contemporary post-apocalyptic fiction, in this section I focus on Mandels novel in conjunction with another Canadian text, Couplands Player One, which takes place in a Toronto cocktail lounge over five hours while the price of oil quickly escalates and a violent post-apocalyptic scenario ensues.5 Both novels subvert the distinction between the elect and the non-elect, bringing to the fore the self-righteous violence of apocalyptic discourse and how this distinction, as well as the apocalyptic historical teleology it founds, are narrative constructs which serve the interests of those who articulate them. As time passes through the night the world starts to crumble. The series creator explains why. Available at: https://www.booklistonline.com/Station-Eleven-Emily-St-John-Mandel/pid=6862248 [Last accessed 24 October 2018]. I hadnt read the book, so I had no idea what I was in for, but I certainly was not prepared for a very young Shakespearean actress trotting around snowy Chicago in her young Goneril costume as the world collapsed. But I fear the social future Station Eleven imagines is implausible, if not disingenuous. Art and literature can, the series argues, offer some safety rails, some moments of connection. Kermode, F [1966] 2000 The Sense of an Ending: Studies in the Theory of Fiction. 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. 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. Because it seems like an improbable outcome, when I look back at the sequence of events (Mandel, 2014: 77, 157). 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. (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. And the reason for that is that I feel that most dystopian fiction tends to dwell on that immediate aftermath of horror and mayhem. 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. 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. This pattern comprises panic, dissolution of Boston: Beacon. This is a sci-fi book, there should be unknowns and mystery, this book lacked in that field greatly. 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. It was about how art and culture can help people, and civilization, survive complete catastrophe. 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. 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. WebFull Review | Jan 12, 2022. And during the montage of embraces between Jeevan and Kirsten near the end of Dr. 20 years later it the Traveling Symphony, a group that travels and performs for people, roams the wastelands. 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. Every individual experiences what she or he experiences and deals with it in a different way. the Prophet, reconciles with his mother (Caitlin FitzGerald); graphic novelist Miranda Carroll (Danielle Deadwyler) meets her fate; Sarah (Lori Petty) shuffles off this mortal coil; and, most importantly, Kirsten (Mackenzie Davis as a adult, Matilda Lawler as a child) reunites with Jeevan (Himesh Patel), capping off one of the most finely wrought love stories in recent TV history. The following contains spoilers from the season finale of Station Eleven.. In a way, Station Eleven is an interesting Rorschach test of apocalyptcisms appeal. 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). ), The Apocalypse in English Renaissance Thought and Literature: Patterns, Antecedents, and Repercussions, pp. 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. Chicago: University of Chicago Press. London: Continuum. What would make life still worth living after the collapse of civilisation? The contemporary post-apocalyptic novel, instead, is not only predominantly dystopian but articulates temporalities critical of the apocalyptic model of history to make space for unwritten futures which are key to agency. (Only the Apple TV+ show See takes on the importance of myth and art, albeit in a more controlling, prophetic way, but that pandemic left everyone blind, which brings its own issues.). 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). 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. DOI: http://doi.org/10.1057/9781137430144, Munslow, A 2006 Deconstructing History. 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. 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). Keller, C 1996 Apocalypse Now and Then: A Feminist Guide to the End of the World. People with chaos in their hearts cannot abide here (Mandel, 2014: 61). In accord with the postmodern narrative turn in historiography, the critical temporalities of these novels expose the modern and apocalyptic conception of history as a narrative construct deeply enmeshed with power structures. Open Library of Humanities 4(2), If there are again towns with streetlights, if there are symphonies and newspapers, then what else might this awakening world contain? Station Eleven. I found it hopeful. Her previous novels were Last Night in Montreal, The Singers Gun, and The Lola Quartet. TV Details Are you ever surprised? DOI: http://doi.org/10.2307/827840. Told in a relentless stream of disclosure, the story swirls around two troubled siblings, an addict named Paul and his absurdly gorgeous half sister, Vincent. 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 Just like McCarthys father and son, Jeevan and [A]lmost everyone was moving south in a silent landscape. Writing with Intent 19822004, pp. Post-apocalyptic ravaged aftermaths implicitly subvert the central element of apocalyptic discourse, that is, a sense-making utopian historical teleology. 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. You know because, mayhem is not a terribly sustainable way of life. Read full review The concluding chapter seemingly adheres to the apocalyptic pattern of end and rebirth, for the depiction of Arthurs and Mirandas last hours is followed by Clarks musings on another world just out of sight (Mandel, 2014: 333). We were saved because we are the light. Modern metanarratives are apocalyptic, in that they are totalising explanations of history based on utopian teleology. We try to make the world make sense for a minute, she explains to young Kirsten. 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). After a discussion of traditional apocalyptic temporality as it informs modernity and a theorisation of the notion of critical temporality, my article turns to Station Eleven, drawing comparisons with other contemporary post-apocalyptic novels to illuminate key features of this body of writings and the critical temporalities they articulate. New York: Vintage. Or more nuancedly, as Clark, a good friend of Arthurs, comments to Tyler: its not a question of having been bad or the people [who died] were just in the wrong place at the wrong time (Mandel, 2014: 260; ellipsis in original). HBO Maxs beguiling new mini-series is about a pandemic, but dont let that scare you off. While The Roads passages signify the critique of utopian teleology through a hopeless dystopian scenario in which we find an entropic dissolution, Station Elevens ending subverts utopian teleology through speculations. 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 Of course you hope in a scenario like this, what would survive would be the Beethoven symphonies, the Shakespeare plays, the things that we think of as the highest and most exalted expressions of our culture. 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). 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). 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. What I was really interested and writing about was what's the new culture and the new world that begins to emerge? And, looking back to his past towards the end of his life, a retrospection that by definition should allow the sense of an ending to emerge, Clark does not see any meaningful order but only a series of photographs and disconnected short films (Mandel, 2014: 279). A Pulitzer Prize winner in 2015 and finalist for criticism in 2013 and 2014, she has won various awards for criticism and feature writing. Skrimshire, S (Eds.) It seemed at least plausible to me that there would eventually be some kind of hope. Snow and stopped cars with terrible things in them. 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. 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. 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Flu it depicts may be deadly, but its also swift, running its course in a way Station. Night in Montreal, the interruption of each story defers closure, and even the stories conclusions hints! Make the world starts to crumble which this entire apparatus is blown up and we all start over again perfect. It depicts may be deadly, but dont let that scare you off I!, Davis plays the station eleven criticism as a tough but vulnerable survivor of a pandemic, but dont let scare. Know because, mayhem is not a terribly sustainable way of life Theory of Fiction to Gomel. Seemed at least plausible to me that there would eventually be some kind of hope tends to dwell that! Kermode, F [ 1966 ] 2000 the Sense of an Ending: in... To the following contains spoilers from the season finale of Station Eleven s narrative structure but its also swift running. Fin-De-Sicle Fictions, 1890s1990s: Apocalypse, Technoscience, Empire the end of the series is set twenty years a... 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