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). 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. Does Station Eleven depict an unrealistic social regeneration? WebA pandemic show based on a pandemic novel airing two years into a global pandemic, "Station Eleven" may seem fatigue-inducing. In part because the partnership of Jeevan and Kirsten was so odd and hypnotic that Goneril dress! 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. Arthur C Clarke Award 2015 2015 Winner. 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. This [the cults community at St. Deborah by the Water] is a place of order. 1. Tom's Guide's latest streaming news. Available at: https://www.booklistonline.com/Station-Eleven-Emily-St-John-Mandel/pid=6862248 [Last accessed 24 October 2018]. There are any number of access points for a comparison of these two shows. June 24, 2015. Indeed, Mandel glosses over the blood-drenched years just after the collapse, the first unspeakable years which were, tellingly, spent on the road, travelling (Mandel, 2014: 48, 37). Emily St. John Mandel. Consider the card games played belowdecks in the evenings on the ship carrying the containers across the ocean, a hand stubbing out a cigarette in an overflowing ashtray, a haze of blue smoke in dim light, the cadences of a half dozen languages united by common profanities, the sailors dreams of land and women, these men for whom the ocean was a grey-line horizon to be traversed in ships the size of overturned skyscrapers (Mandel, 2014: 255). 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. ), Station Eleven celebrates the beauty of the pre-apocalyptic world and mourns its loss. The website's critics consensus reads, " Station Eleven rewards patient viewers with an insightful and thematically rich assertion thateven in the post-apocalypsethe show must go on." Because in stretches the first comes achingly close to being a masterpiece. A Pulitzer Prize winner in 2015 and finalist for criticism in 2013 and 2014, she has won various awards for criticism and feature writing. It received critical acclaim and was nominated for seven Primetime I loved Station Eleven because it is the first post-apocalyptic show that revolves around its own holy text, in this case the hypnotic, possibly prophetic, graphic novel Station Eleven. We see its origins as, in flashback, Miranda (with Deadwyler in an equally devastating performance), turns her own experience with trauma and loss into a sort of universal language that connects the past with the future and literally helps save civilization. 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. 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). The Museum soon becomes a sanctuary where people go to pray, for Station Elevens post-apocalyptic characters clin[g] to the hope that the world they remembered could be restored (Mandel, 2014: 213), just like the people of the Undersea in the comic Station Eleven, penned by Miranda, the title of which signals its status as a mise-en-abyme text.9 Thus, children at school are taught about the way things were, although these are just abstractions and essentially science fiction to them (Mandel, 2014: 269, 262, 270). 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. Charles, R 2014 Sorry, Emily St. John Mandel: Resistance is Futile. 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. Chicago: University of Chicago Press. 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). 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. But book awards and paperback releases are a thing of the past in the world Mandel has created. She had ample experience to draw from. As for the issue of whether or not art has saved us, there is no way of knowing, though it certainly has functioned, at the very least, like the COVID-19 vaccinations incapable of eradicating evil but allowing more people to survive it. The mere existence of a character like the Conductor, played with bug-eyed, Emmy-worthy brilliance by Petty, made my heart sing. Station Eleven replicates what Gomel (2000: 408) identifies as the plague pattern, where there is no place for millenarian rebirth. Heres what to know, From Chris Rock to the SAG Awards. The Georgia Flu, the prophet claims, was our flood. 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). But then why did the One Ring choose Frodo? "No countries, no internet, no more Facebook, no more email. Globe and Mail, 12 September. What would make life still worth living after the collapse of civilisation? Get Screen Gab for everything about the TV shows and streaming movies everyones talking about. Nothing (McCarthy, [2006] 2007: 216). 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. This is the half of Station Eleven that persuades me, the half set in the realm of its Hamlet, its Lear: the half about human connection and isolation, about love, betrayal and, unavoidably, collapse. 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. Skrimshire, S (Eds.) American Literary History, 23(3): 48399. Abrams, M H 1984 Apocalypse: Theme and Variations. 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. 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. Learn exactly what happened in this chapter, scene, or section of Station Eleven and what it means. 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. There is no emotion and it is not greatly There are as is starting to feel mandatory with small-screen dramas two timelines. 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). 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. 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. He likes the thought of ships moving over the water, towards another world just out of sight (Mandel, 2014: 33233; emphasis mine). What I was really interested and writing about was what's the new culture and the new world that begins to emerge? 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. ", On what survives including a comic book treasured by several characters. 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). You know, it's no longer possible to set out as a pioneer and stake a claim and start a new life. Or, more precisely, it is half masterpiece, half not. This is a sci-fi book, there should be unknowns and mystery, this book lacked in that field greatly. Public Books, 15 June. Station Eleven replicates what Gomel identifies as the plague pattern, where there is no place for millenarian rebirth. 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. The concluding discovery of a town with a functioning electrical grid (Mandel, 2014: 311) suggests not the advent of a radical new world and the revelation of a sense-making pattern to history, but, rather, that civilisation might slowly revert to its pre-apocalyptic state and given the positive and optimistic tone of the conclusion, reinforced by the way in which electricity and lights are repeatedly described as beautiful, this, too, indicates the novels problematic celebration of the current system. Keller, C 1996 Apocalypse Now and Then: A Feminist Guide to the End of the World. As he claims, when we speak of the light, we speak of order. But I fear the social future Station Eleven imagines is implausible, if not disingenuous. I admit that it probably says something about where I am at right now that I wanted more of the disaster and less of the hope. Your purchase helps support NPR programming. Published by The final minutes of the Station Eleven finale reunite Kirsten (Mackenzie Davis) and Jeevan (Himesh Patel) after 19 years apart. Theres nothing you cant survive, because theres nothing that you will not do (Mandel, 2014: 139). 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. 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). DOI: http://doi.org/10.1057/9781137430144, Munslow, A 2006 Deconstructing History. Confronted with Bertis preaching, the other characters of Couplands novel notice that the way Bertis talks is weird (Coupland, [2010] 2011: 187). I found it hopeful. 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. 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. Yes, an episode that aired in 1999. Furthermore, teleology entails determinism, which compromises the possibility of choices and ethics. (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. 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. Where the book felt stylized, more like poetry or a fable, the London: Bloomsbury. New York Times, 5 September. People with chaos in their hearts cannot abide here (Mandel, 2014: 61). Station Eleven, the HBO Max show whose finale airs Thursday, is something else entirely. 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. The series creator explains why. 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. The narrative moves literally and metaphorically away from the road the actual road of the first post-pandemic years as well as McCarthys The Road. Miranda, Arthurs ex-wife, was unprepared for [the fleets] beauty. Previously she was assistant managing editor for arts and entertainment following a 12-year stint as television critic and senior culture editor. 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. Herein lies its critical distance from the utopian teleology of the traditional apocalyptic paradigm. : Shakespeare, Salvagepunk and Station Eleven. Critique: Studies in Contemporary Fiction, 59(2): 24357. I have seen many, and characters are almost exclusively categorized as hero, villain, victim but never bard, never artist. | 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. Berkeley: University of California Press. Kermode, F [1966] 2000 The Sense of an Ending: Studies in the Theory of Fiction. In a way, Station Eleven is an interesting Rorschach test of apocalyptcisms appeal. Among the 1% left Himesh Patel and Matilda Lawler in Station Eleven. For the thing with the new world is its just horrifically short on elegance (Mandel, 2014: 151). 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. Ermarth, E D 1992 Sequel to History: Postmodernism and the Crisis of Representational Time. London: Windmill. 2nd ed. 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. 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. You know because, mayhem is not a terribly sustainable way of life. We put on plays in warzones. 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. 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. But book awards and Cultural Dominant. In: Patrides, C A and Wittreich, J (Eds. The Flash-forward Glimpses Her previous novels were Last Night in Montreal, The Singers Gun, and The Lola Quartet. Born in the Boston area, educated at USC and an adoptive New Orleanian for nearly 10 years, he returned to Los Angeles in 2019 as the newsrooms television editor. This adaptation of the astonishingly prescient 2014 bestseller is deeply unsettling, even in the bits it gets wrong. You know, I think I'd want to save a globe. 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). And during the montage of embraces between Jeevan and Kirsten near the end of Dr. The question of class distinctions (resource hoarding) is left mostly to an episodes worth of country-club symbolism and a ruinously miscast David Cross. DOI: http://doi.org/10.4159/9780674495647. 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. But I also know that if any survivor owned a snowplow, he or she would use it because snowplowing is a calling and an art form in itself. 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. Zombies show no talent for climbing; is there no engineer or architect among them who could construct an elevated village? 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