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. I very purposely set much of the action 15 and then 20 years after that flu pandemic. 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). Rosen, E K 2008 Apocalyptic Transformation: Apocalypse and the Postmodern Imagination. This passage is another intertextual reference to The Road. DOI: http://doi.org/10.2307/827840. 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. Station Eleven 's premise is terribly current for the post-COVID world. Flawed but engrossing, the craft of HBO Maxs post-post-apocalyptic tale masks its narrative imperfections: As in the Bard, plot gives way to poetry. He likes the thought of ships moving over the water, towards another world just out of sight (Mandel, 2014: 33233; emphasis mine). 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. Goods travelled in ships and airplanes across the world. Something that came up for me as I was writing this book was how incredibly local your world would become. Coupland, D (2010) 2011 Player One. Frame, 26(1): 929. 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). Heffernan, T 2008 Post-Apocalyptic Culture. She had ample experience to draw from. Snow and stopped cars with terrible things in them. ", On what survives including a comic book treasured by several characters. Zombies show no talent for climbing; is there no engineer or architect among them who could construct an elevated village? The bulk of the series is set twenty years after a flu pandemic brought human civilization as we know it to an end. This utopian narrative about the pre-apocalyptic past obscures the material labour that props up the hyper-connected globalised world and the inequalities between the global North and South that lie beneath its seemingly seamless unity. This adaptation of the astonishingly prescient 2014 bestseller is deeply unsettling, even in the bits it gets wrong. Tyler reunites with his mother. 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. WebStation Eleven is an American post-apocalyptic dystopian fiction miniseries created by Patrick Somerville based on the 2014 novel of the same name by Emily St. John Mandel.The miniseries premiered on HBO Max on December 16, 2021, and ran for ten episodes until January 13, 2022.. How deeply strange it is, how deeply unsettling, to be able to compare and contrast a fictional pandemic with the real thing. In particular, progress, the modern metanarrative par excellence, represents the main example of the secularization of apocalypse and of its utopian telos (Keller, 1996: 6). Alter, A 2014 The World is Ending, and Readers Couldnt Be Happier: Station Eleven Joins Falls Crop of Dystopian Novels. 37. Her previous novels were Last Night in Montreal, The Singers Gun, and The Lola Quartet. ), entropy reigns. Available at: https://www.clarkeaward.com/2015-winner/ [Last accessed 24 October 2018]. De Cristofaro, D 2013 The Representational Impasse of Post-Apocalyptic Fiction: The Pesthouse by Jim Crace. We try to make the world make sense for a minute, she explains to young Kirsten. Washington Post, 15 October. 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. 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). 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. 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. One of the prophets followers, who dies revelling in Revelations promise of a new heaven and a new earth (Rev. Is a Disarmingly Hopeful Post-Apocalyptic Tale. By the same token, Station Elevens prophet terrorises the population of the region, assembles a cult, and gains power thanks to a combination of charisma, violence, and cherry-picked verses from the Book of Revelation (Mandel, 2014: 280), where cherry-picked underlines the constructedness of Tylers prophecy. So that line became almost the thesis statement of the entire novel. The sense of an ending and the deterministic foreshadowing it allows should pertain to the closure of time in traditional plots, not to the openness of time as lived, where the future is unwritten. Mitchell, D 2004 Cloud Atlas. Station Eleven replicates what Gomel (2000: 408) identifies as the plague pattern, where there is no place for millenarian rebirth. The Road is a recurrent point of comparison for Station Eleven in academic analyses and reviews alike (Tate, 2017: 13233; Alter, 2014; Huntley, 2014). What if it's also a self-published comic book? Immediately following the Second World War, there was a fashion show in Paris. 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. And, as a sniper, he believes he is clearing the way for gods new utopian order, for [T]he people [he] shot bothered God. According to Elana Gomel, plague narratives are structured by the logic of iterative mortality that undermines the teleological progression of the apocalypse. 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. 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. Even the Georgia Flu, Jeevan notes, has a disarmingly pretty name (Mandel, 2014: 17). This [the cults community at St. Deborah by the Water] is a place of order. 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). These gaps keep spaces of possibility open in the novels structure, indicating Mitchells intention to debunk apocalyptic determinism and narrative foreshadowing. 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. A scar strip, Thank you for asking, she says, Hoda Kotbs enigmatic Today absence finally explained on air: Hodas OK, Blake Shelton embarks on last season of The Voice before doing a little bit of nothing, Chris Rocks live Netflix special taps several comedy greats, from Sykes to Seinfeld, Savannah Guthrie exits Today mid-broadcast and tests positive for COVID-19 again. DOI: http://doi.org/10.16995/olh.235. Ah, you say no. DOI: http://doi.org/10.16995/olh.256. It wasnt like that. Just like McCarthys father and son, Jeevan and [A]lmost everyone was moving south in a silent landscape. 2nd ed. Cultural Dominant. The theory that I found the most interesting was suggested to me by a bookseller in England last year: she thought perhaps our interest in these futuristic narratives had to do with the fact that there are no more frontiers. The question of class distinctions (resource hoarding) is left mostly to an episodes worth of country-club symbolism and a ruinously miscast David Cross. 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). ), Moving Targets. 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. We always seem to think the world's ending. 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. The following is from Emily St. John Mandels novel Station Eleven which was a finalist for a 2014 National Book Award. Nothing (McCarthy, [2006] 2007: 216). Both Tyler and Bertis exhibit traits of what Catherine Keller identifies as the apocalypse pattern (1996: 11): the faith in historical determinism, the inclination to think in terms of clear-cut polarities of good versus evil and the identification with the good that purges the evil from the old world and is worthy of the imminent utopian renewal of the new world. WebA summary of Part 7 in Emily St. John Mandel's Station Eleven. London: Continuum. 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). 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. The novel begins with the apocalyptic end, Arthurs death on Night One (Mandel 2014: 180) of the pandemic. We are the pure, working towards the advent of a new world, the divine plans for which were revealed to him in dreams (Mandel, 2014: 60; emphases in original). "No cities," she tells NPR's Scott Simon. Tate, A 2017 Apocalyptic Fiction. 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). You may occasionally receive promotional content from the Los Angeles Times. 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). From Station Eleven to Atlanta, GLOW and more, Christian Sprenger has shot some of TVs most beautiful images. Plymouth: Lexington. As Lee Quinby sums up, the apocalyptic metanarrative is a quintessential technology of power/knowledge, since its tenet of preordained history disavows questionings of received truth, discredits skepticism, and disarms challengers of the status quo (1994: xiii). Kermode, F [1966] 2000 The Sense of an Ending: Studies in the Theory of Fiction. Station Elevens ending is key to the texts deconstruction of utopian teleology. 32830. 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. 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). The first few episodes look beautiful but move at a stately pace. 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. Just like Tyler, Bertis sees himself as the prophet of the new world to come, which is, however, not for everyone. The first concerns the early days and years of the pandemic. Foursquare City Guide. Miranda, Arthurs ex-wife, was unprepared for [the fleets] beauty. 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. NATIONAL BESTSELLER NATIONAL BOOK AWARD FINALIST A PEN/FAULKNER AWARD FINALIST Set in the eerie days of civilizations collapse - the spellbinding story of a Hollywood star, his would-be savior, and a nomadic group of actors roaming the scattered outposts of the Great Lakes region, risking People die alone, with their loved ones unable to be with them, and people grieve alone. Station Eleven , the HBO Max show whose finale airs Thursday, is something else entirely. 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. Even when the man contemplates the possibility of ships out there, these are deathships, and the hypothetical father and son on the other side are similarly hopeless, living among the bitter ashes of the world st[anding] in their rags lost to the same indifferent sun (McCarthy, [2006] 2007: 219). 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). DOI: http://doi.org/10.13130/2035-7680/2987, De Cristofaro, D 2018 Time, no arrow, no boomerang, but a concertina: Cloud Atlas and the Anti-Apocalyptic Critical Temporalities of the Contemporary Post-Apocalyptic Novel. You know because, mayhem is not a terribly sustainable way of life. 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. Log In; That episode, which straddles the before and the after, was totally crazy and completely glorious; of course some female doctor would create a maternity ward in a place that once sold beds. 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 has been a best seller. 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. Open Library of Humanities 4(2), Minneapolis: University of Minnesota Press. You seem to get reborn almost every time you leave the house, says Arthurs best friend, Clark (David Wilmot, another mesmerising turn), after listening to a California female actor be an excessively California female actor over dinner for too long. 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. 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). It's not that I don't think that there would be a period of absolute mayhem and chaos and horror. 2nd ed. Having established its I focus on three elements, which reflect central features of this body of writings the critical appropriation of religious apocalyptic logic, the critique of utopian teleology, and non-linear narrative structures and parallel Mandels novel with three other key texts of the genre, Douglas Couplands Player One (2010), Cormac McCarthys The Road (2006) and David Mitchells Cloud Atlas (2004). His co-stars can't remember if he had a family to notify. Why, I kept asking myself, are they still living on the ground? Whats on the other side? Or, more precisely, it is half masterpiece, half not. 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. 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. 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. WebSee 15 photos and 3 tips from 556 visitors to 7-Eleven. If you can stick with it, you will be rewarded. Clarks optimistic musings on the possibility of ships and life in the countries on the other side of the ocean stand in stark contrast to the fathers answers to his son: Do you think there could be ships out there? WebThe most problematic texts involve passages that are not directly from the Koran but rather contain the Saudi government’s particular interpretation of Koranic and other 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. Traditional apocalyptic narratives reveal a utopian teleology to history, a conception of time that deeply informs western modernity and its metanarratives. Oxford: Oxford University Press. In this altered world, there is a traveling Shakespearean theater company and symphony orchestra touring the small and fairly isolated communities in the Midwest.". The word beauty recurs in the descriptions of the post-flu world: the beauty of this world where almost everyone was gone, there was beauty in the decrepitude this dazzling world, It was very difficult, but there were moments of beauty (Mandel, 2014: 148, 297, 302). Chute, H L 2016 Disaster Drawn: Visual Witness, Comics, and Documentary Form. 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). 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. 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. 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. Available at: http://www.publicbooks.org/the-post-apocalyptic-present/ [Last accessed 24 October 2018]. Frankly I was grateful to skip all the store-looting and scavenging we are inevitably treated to in these kinds of tales. Instead we got a department store turned into a maternity ward and an Oreo used to demonstrate a cervix dilated to five centimeters. Survival is never sufficient. 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. WebFull Review | Jan 12, 2022. June 24, 2015. 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). In: Derrida and Negative Theology, Coward, H and Foshay, T (Eds.). You are right about how the timeframe jumps from immediate crisis to a relatively established recovery. Station Eleven manages to find something different: beauty and meaning, most of it wrapped up in the pandemic's survivors, our main characters, and the way they manage to connect to others and find some joy even in a grim time and place. The final season of Game of Thrones notwithstanding, I remain a big fan of the epic quest, so I chose surrender. Yet beyond this cursory reference to the economic crisis, the novel remains curiously silent on the issues of the neoliberal order, including anthropogenic climate change, which represents the flip side of, and a significant threat to, capitalisms fundamental premise. 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. 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. Yet, significantly, [T]he road seemed dangerous. For me, its what Ive taken to calling the series present the scenes set around a flu pandemic that wipes out 99% of the worlds population that vibrate with acute emotional energy. 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. Hoberek, A 2015 The Post-Apocalyptic Present. Open Library of Humanities, 4(1): 7, 126. Huntley, K 2014 Station Eleven: Booklist Review, August. 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. 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. See, for instance, the state propaganda in Colson Whiteheads, There are varying degrees of dystopian post-apocalyptic scenarios: from, The world of the comic has suffered an apocalypse of its own: the space stations artificial sky was damaged during a war with the aliens that have taken control of the Earth so that Station Eleven has been in a state of perpetual twilight for fifteen years (, A similar alternation between pre- and post-apocalypse, which troubles the teleological linearity of apocalyptic history, can be found in Selfs, In this sense, it is interesting to note Hillary Chutes reflections on the form of comics in terms of their spatial gaps that subvert linearity: through its spatial syntax [of gutters, grids, and panels], comics offer opportunities to place pressure on traditional notions of chronology, linearity, and causality as well as on the idea that history can ever be a closed discourse, or a simply progressive one (. 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. Here in the present, we play we play musical instruments at refugee camps. 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). Zamora, L P 1989 Writing the Apocalypse: Historical Vision in Contemporary U.S. and Latin American Fiction. Tom's Guide's latest streaming news. Gomel, E 2000 The Plague of Utopias: Pestilence and the Apocalyptic Body. Writing with Intent 19822004, pp. There is no emotion and it is not greatly Despite the tidy conclusion, I can only hope creator Patrick Somerville and HBO Max are in negotiations for a second season. 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. 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. ): 7, 126 the apocalyptic Body actual road of the action 15 and then years... I chose surrender we got a department store turned into a maternity ward and an Oreo used to demonstrate cervix. ( 2 ), Minneapolis: University of Minnesota Press living on the ground of utopian teleology history. 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Indicating Mitchells intention station eleven criticism debunk apocalyptic determinism and narrative foreshadowing as I writing! Traditional apocalyptic narratives reveal a utopian teleology to history, a 2014 National book Award a dilated! Bestseller is deeply unsettling, even in the present, we play we play we play musical instruments at camps. Station Eleven Joins Falls Crop of Dystopian novels Apocalypse: Historical Vision in U.S.! A cervix dilated to five centimeters stopped cars with terrible things in them St. Deborah by Water! Informs western modernity and its metanarratives indicating Mitchells intention to debunk apocalyptic determinism narrative... Lmost everyone was moving south in a silent landscape D ( 2010 ) 2011 One... Is there no engineer or architect among them who could construct an elevated?... Snow and stopped cars with terrible things in them ), Minneapolis: of...

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