In a way, Station Eleven is an interesting Rorschach test of apocalyptcisms appeal. Just like Bertis, Tyler uses contrived rhythms and repetition in his speeches, so much so that Kirsten notes a suggestion of a trapdoor waiting under every word [of his] (Mandel, 2014: 59). 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. 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. Audience member Jeevan (Himesh Patel) tries to take her home, but they are overtaken by the collapse of civilisation and begin their new life navigating the disaster together. Yeah, I was interested in the randomness of what survives and what doesn't. Just like the parallels between the stories, the conclusion emphasises the individuals agency to shape the future and the openness of actual time, as opposed to the closure of time in traditional plots. The generation gap between those born before and after is gestured at but scarcely plumbed. 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. Alter, A 2014 The World is Ending, and Readers Couldnt Be Happier: Station Eleven Joins Falls Crop of Dystopian Novels. You know, it's no longer possible to set out as a pioneer and stake a claim and start a new life. 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. You may occasionally receive promotional content from the Los Angeles Times. At first, Station Eleven is bewildering, all discombobulating cuts between the present and what seems to be a desolate, sparsely populated future. 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. An uplifting pandemic drama? We tend to think about the apocalypse as a catastrophe of enormous proportions and overwhelming consequences, something which, then, brings about a dystopian post-apocalyptic scenario. 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. In: Atwood, M (Eds. Huntley, K 2014 Station Eleven: Booklist Review, August. Cambridge: Cambridge University Press. [18] For the profound influence of apocalypticism on modernity can also be qualified as a chronic disease of the Western politics and poetics of temporality, a disease characterised by what Derrida called the disorder or delirium of destination (Gomel, 2010: 121). 2nd ed. West, M 2018 Apocalypse Without Revelation? (2018) Critical Temporalities: Station Eleven and the Contemporary Post-Apocalyptic Novel, I focus on three elements: one, Station Elevens critical appropriation of religious apocalyptic logic, which I discuss in parallel with Douglas Couplands Player One (2010); two, the depiction of the aftermath of the Georgia Flu and Station Elevens critique of utopian teleology, which I discuss in parallel with Cormac McCarthys The Road (2006); and, three, Station Elevens non-linear narrative structure, which I discuss in parallel with David Mitchells Cloud Atlas (2004). But the recent surge of post-apocalyptic novels brings to the fore this critical tension between the contemporary and the traditional understanding of apocalypse by appropriating apocalyptic tropes to subvert them from within and, more fundamentally, by being essentially concerned with time and history, a concern that is often embodied within their structural narrative features. To take refuge in the art, dammit. And I think it would be very easy to lose perspective and think that this was the entire world. Station Eleven and The Last of Us share one more very specific similarity: juxtaposing destruction with art. The Swiss Family Robinson managed, and they were mostly kids! Events unfurl like a Hoberek, A 2011 Cormac McCarthy and the Aesthetics of Exhaustion. 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. 2nd ed. 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: https://doi.org/10.16995/olh.206, Download XML I mean, extra points for level of difficulty, no? 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). 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 great modern revolutions, from the American, to the French, to the Russian, rely on the apocalyptic faith in radical renewal after violent cleansing (Abrams, 1984). 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. Griffith, C 2015 When the Dust Settles: An Interview with Emily St. John Mandel, April. She is the author of the Hollywood mysteries Oscar Season and The Starlet. She lives in La Crescenta with her husband, three children and two dogs. Download PDF. Mitchell, D 2004 Cloud Atlas. 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. Washington Post, 15 October. Yet, she explains, it was important to me to not write that book [The Road]. De Cristofaro, D 2013 The Representational Impasse of Post-Apocalyptic Fiction: The Pesthouse by Jim Crace. 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. 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 It won several major awards, was an NPR Books Concierge pick, and it's just come out in paperback. The mere existence of a character like the Conductor, played with bug-eyed, Emmy-worthy brilliance by Petty, made my heart sing. Confronted with Bertis preaching, the other characters of Couplands novel notice that the way Bertis talks is weird (Coupland, [2010] 2011: 187). Minneapolis: University of Minnesota Press. One of the prophets followers, who dies revelling in Revelations promise of a new heaven and a new earth (Rev. 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). 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. 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. Plymouth: Lexington. Cloud Atlas consists of six narratives set between the nineteenth century and a distant post-apocalyptic future. I in fact stole it shamelessly from Star Trek: Voyager. It could remind us of our civilization. This critique of teleology is reflected in Station Elevens narrative structure. This passage is another intertextual reference to The Road. 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). He likes the thought of ships moving over the water, towards another world just out of sight (Mandel, 2014: 33233; emphasis mine). For her, the important thing is the work itself, not whether or not it's ever published. Therefore, the plot of pestilence is not so much a fiction of an end as a fiction of an end indefinitely postponed. Open Library of Humanities, 4(1): 7, 126. There's something about art I think that can remind us of our humanity. But Station Elevens apocalypse does not bring any sense-making order. Twentieth Century Literature, 46(4): 40533. The chaos of historical contingency chaos which is even more evident and dreadful at times of crisis, such as that of the devastating Georgia Flu is tamed through the recourse to apocalyptic determinism, namely, to the belief that everything happens for a reason, as the prophets mother repeats throughout the novel. 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). Yes, there were dangers there, but no doubt there was also a lot of food and, potentially, fellow nonmurderous survivors. Mandels novel thus exposes apocalyptic temporality as an artificial teleological order that one imposes on contingency, often with oppressive agendas in mind, as is the case of the prophet. In both traditional fictional plots and apocalyptic history, Kermode writes, the end confer[s] organization and form on the temporal structure ([1966] 2000: 45), transforming the mere succession of events into a meaningful sequence. 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. Her work has appeared in numerous anthologies, including The Best American Mystery Available at: http://www.tor.com/2014/09/12/a-conversation-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. The silence (McCarthy, [2006] 2007: 274), an irrecoverable ecosystem that indicates the lack of a utopian renewal after the end indeed, the lack of post-apocalyptic futurity tout court and the collapsing of the sense-making order the traditional apocalyptic paradigm projects onto history through teleology. As Jeevan describes it, this night, was going to be the divide between a before and an after, a line drawn through his life (Mandel, 2014: 20; emphasis in original). 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. (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.). Station Eleven happened to be on a break in March 2020 when COVID hit, and by the time production started up again in February 2021, the world had changed. 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. 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. If there are again towns with streetlights, if there are symphonies and newspapers, then what else might this awakening world contain? WebA pandemic show based on a pandemic novel airing two years into a global pandemic, "Station Eleven" may seem fatigue-inducing. Critique: Studies in Contemporary Fiction, 59(2): 24357. Nothing (McCarthy, [2006] 2007: 216). Foursquare City Guide. Buell, F 2013 Post-Apocalypse: A New U.S. After all, McCarthys text which depicts a father and sons journey in a post-apocalyptic US where, after an unspecified catastrophe, everything [is] dead to the root (McCarthy, [2006] 2007: 21) is one of the most famous examples of the contemporary body of post-apocalyptic novels as it won the 2007 Pulitzer Prize for Fiction. 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). 2010 Future Ethics: Climate Change and Apocalyptic Imagination. Instead we got a department store turned into a maternity ward and an Oreo used to demonstrate a cervix dilated to five centimeters. Public Books, 15 June. Among the 1% left Himesh Patel and Matilda Lawler in Station Eleven. But book awards and Or at least part of it is. 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. Station Eleven is a massive collaborative effort, but much of the series warmth is shaped by three key visual choices in its first episode. 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. The author has no competing interests to declare. How deeply strange it is, how deeply unsettling, to be able to compare and contrast a fictional pandemic with the real thing. 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. 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. 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. 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. 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). Station Eleven and The Last of Us share one more very specific similarity: juxtaposing destruction with art. Read full review WebFull Review | Jan 12, 2022. 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? 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 Station Eleven features explicit intertextual references to biblical apocalyptic narratives, from the Flood, in Genesis, to Revelation. Secondly, the interruption of each story defers closure, and even the stories conclusions contain hints to the following narrative. Mousoutzanis, A 2014 Fin-de-Sicle Fictions, 1890s1990s: Apocalypse, Technoscience, Empire. "don't have any 7-eleven stores where I live so when I seen that there 7-eleven's my one" Convenience Store in 1. Gomel, E 2010 Postmodern Science Fiction and Temporal Imagination. The novels elegiac tone is encapsulated by the Museum of Civilization, where civilization refers to the bygone hyper-globalised world. For me, its what Ive taken to calling the series present the 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). 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. 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. Chicago: University of Chicago Press. Mackenzie Davis, left, leads the sprawling cast of HBO Maxs (post-)apocalyptic series Station Eleven.. 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. Hoberek, A 2015 The Post-Apocalyptic Present. But you know, here I am in Philadelphia this afternoon. There are holes in the story, but that didnt bother me because Station Eleven felt almost immediately like an antidote to every other post-apocalyptic tale I have ever seen. Are you ever surprised? 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). 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. How Station Eleven pulled off the impossible, ALeague of Their Own review feelgood baseball drama still knocks it out the park, Point Break: Keanu Reeves and Patrick Swayze face off in surf-crime bromance, Orange is the New Black: season four will take over your life, without parole, ThePoint Break remake: Five rules to keep it young, dumb and you know, Emily St John Mandels bestselling Station Eleven. 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. From Station Eleven to Atlanta, GLOW and more, Christian Sprenger has shot some of TVs most beautiful images. Keller, C 1996 Apocalypse Now and Then: A Feminist Guide to the End of the World. DOI: http://doi.org/10.4159/9780674495647. Author Emily St. John Mandel was not involved in the adaptation of her hit novel. 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. In order to have a good story, there needs to be emotion or entertainment. These fictions also target the nexus between narrativity and apocalyptic logic captured by Kermode through the notion of the sense of an ending. His co-stars can't remember if he had a family to notify. Century and a distant Post-Apocalyptic future, 59 ( 2 ): 40533 in randomness... Of six narratives set between the nineteenth century and a new life,. In the adaptation of her hit novel that can remind Us of our humanity Interview with Emily St. Mandel... Defers closure, and even the stories conclusions contain hints to the end of the sense an! Contain hints to the following narrative mousoutzanis, a 2011 Cormac McCarthy and the Last Us. 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And Matilda Lawler in Station Elevens Apocalypse does not bring any sense-making order 2007! Contrast a fictional pandemic with the real thing: Station Eleven is an Rorschach.
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