One of the things that drove me away from The Walking Dead was the core characters lack of expertise and inability to problem-solve. 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). Altre Modernit, 9: 6680. What would make life still worth living after the collapse of civilisation? In order to have a good story, there needs to be emotion or entertainment. Clark speaks to himself in bed next to Miles. You know because, mayhem is not a terribly sustainable way of life. But series creator Patrick Somerville had her blessing to change it. It wasnt like that. : Shakespeare, Salvagepunk and Station Eleven. Are you supposed to be? It is almost more discomfiting, however, to be able to point now to moments the creators get wrong. It received critical acclaim and was nominated for seven Primetime Among the 1% left Himesh Patel and Matilda Lawler in Station Eleven. 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. (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.). Now that that's all mapped and charted out and there are no more frontiers that's left us with a certain restlessness, that I suppose gets channeled into our interest in this futuristic, speculative fiction. In a way, Station Eleven is an interesting Rorschach test of apocalyptcisms appeal. Station Elevens post-apocalyptic beauty is a far cry from The Roads ponderous counterspectacle of things ceasing to be. 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). 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). London: Bloomsbury. ), Station Eleven celebrates the beauty of the pre-apocalyptic world and mourns its loss. London: Picador. The full Long Island Rail Road terminal in Grand Central Station opened Monday. The question of class distinctions (resource hoarding) is left mostly to an episodes worth of country-club symbolism and a ruinously miscast David Cross. The ships were lit up to prevent collisions in the dark, and when she looked out at them she felt stranded, the blaze of light on the horizon both filled with mystery and impossibly distant, a fairy-tale kingdom (Mandel, 2014: 28). The following is from Emily St. John Mandels novel Station Eleven which was a finalist for a 2014 National Book Award. There's something about art I think that can remind us of our humanity. Berkeley: University of California Press. Learn exactly what happened in this chapter, scene, or section of Station Eleven and what it means. Miranda, Arthurs ex-wife, was unprepared for [the fleets] beauty. Brennan: Look, Im not calling Station Eleven a failure, or a disaster, or even a half-assed genre entry. Heres what to know, From Chris Rock to the SAG Awards. WebRotten Tomatoes reports a 98% approval rating with an average rating of 8.1/10, based on 54 critic reviews. Frankly I was grateful to skip all the store-looting and scavenging we are inevitably treated to in these kinds of tales. 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. The novels elegiac tone is encapsulated by the Museum of Civilization, where civilization refers to the bygone hyper-globalised world. Perhaps it's wishful thinking on my part, but I did like the idea that a Shakespearean company might be able to make it. Washington Post, 15 October. De Cristofaro, D 2013 The Representational Impasse of Post-Apocalyptic Fiction: The Pesthouse by Jim Crace. 32830. For me, its what Ive taken to calling the series present the Chaudhary, it finally clicked: Station Eleven soars when it rejects the mantra There is no before when it acknowledges that the future is a science fiction. He previously served as TV editor at Paste Magazine, and his writing has also appeared in Indiewire, Slate, Deadspin and numerous other publications. Set in the days of civilization's collapse, Station Eleven tells the story of a Hollywood star, his would-be savior, and a nomadic group of actors roaming the 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. Whats on the other side? Station Eleven. 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. In the new miniseries "Station Eleven," it's two decades after a deadly flu pandemic, and global civilization has nearly collapsed. For her, the important thing is the work itself, not whether or not it's ever published. (2018) Critical Temporalities: Station Eleven and the Contemporary Post-Apocalyptic Novel, 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). Station Eleven replicates what Gomel identifies as the plague pattern, where there is no place for millenarian rebirth. [18] And I think it would be very easy to lose perspective and think that this was the entire world. However, on the one hand, the novel is far from adhering to the radical utopian renewal of traditional apocalyptic discourse. How Station Eleven pulled off the impossible, Original reporting and incisive analysis, direct from the Guardian every morning. Get our L.A. I dont [sic] think so. Thus, one might suggest that Mandels book describes an apocalypse that already happened in 20082009: it is a novel not about a post-apocalyptic future but a post-apocalyptic present, for the ships embody the breakdown of capitalisms fundamental premise of eternal growth (Hoberek, 2015: n.pag.). 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. 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. But apocalypse, from the Greek apocalyptein, etymologically means to unveil or to reveal, and the revelations of the traditional apocalyptic paradigm are intertwined with time and utopia. Hoberek, A 2011 Cormac McCarthy and the Aesthetics of Exhaustion. 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. On the other hand, the key element of the novels final passage is the sense of possibility (see my emphasis below), rather than the totalising teleological determinism of apocalyptic logic: is it possible that somewhere there are ships setting out? Station Eleven replicates what Gomel (2000: 408) identifies as the plague pattern, where there is no place for millenarian rebirth. Rather, during the first traumatic months spent walking on the road after the catastrophe, Jeevans litany of biographical facts unravels and is replaced by strange fragments (Mandel, 2014: 194). Minneapolis: University of Minnesota Press. So that line became almost the thesis statement of the entire novel. Yet contemporary post-apocalyptic scenarios are predominantly dystopian. And the novel skips forward 20 years to a young woman who was just eight when she was on stage with that actor and is now trying to make her way in a world that's been shorn of most of what we call civilization. We put on plays in warzones. 2nd ed. It won several major awards, was an NPR Books Concierge pick, and it's just come out in paperback. There are as is starting to feel mandatory with small-screen dramas two timelines. 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. But book awards and 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. Emily St. John Mandel. If you can stick with it, you will be rewarded. A scene depicts Tyler as a child reading Revelation 18 to the victims of the Flu sealed forever in a quarantined plane (Mandel, 2014: 259). I confess I came to Station Eleven reluctantly. Why, I kept asking myself, are they still living on the ground? Instead we got a department store turned into a maternity ward and an Oreo used to demonstrate a cervix dilated to five centimeters. The mere existence of a character like the Conductor, played with bug-eyed, Emmy-worthy brilliance by Petty, made my heart sing. Open Library of Humanities, 4(2): 8, 123. 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. "No cities," she tells NPR's Scott Simon. Derrida, J 1992 Of an Apocalyptic Tone Newly Adopted in Philosophy. The Station Eleven soundtrack song accompanies a flashback sequence. 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? This reaction, of course, is a reflection of our own present, in which art seems to swim ceaselessly against the tide. Traditional apocalyptic narratives reveal a utopian teleology to history, a conception of time that deeply informs western modernity and its metanarratives. Chute, H L 2016 Disaster Drawn: Visual Witness, Comics, and Documentary Form. "No countries, no internet, no more Facebook, no more email. The same interplay of artificial lights and darkness can be found in the description of a shipping fleet permanently anchored off the coast of Malaysia due to the 2008 economic crisis. Cloud Atlas consists of six narratives set between the nineteenth century and a distant post-apocalyptic future. People with chaos in their hearts cannot abide here (Mandel, 2014: 61). Quinby, L 1994 Anti-Apocalypse: Exercises in Genealogical Criticism. Available at: https://www.clarkeaward.com/2015-winner/ [Last accessed 24 October 2018]. How? Download PDF. 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. On the Traveling Symphony's motto, "survival is insufficient"It is not from Shakespeare. 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. 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. Critique: Studies in Contemporary Fiction, 59(2): 24357. Convenience Store in Sterling, VA. Boston: Beacon. Station Eleven is a massive collaborative effort, but much of the series warmth is shaped by three key visual choices in its first episode. Its one of the most profound meditations on love, loss, grief, and community Ive ever seen. In: Patrides, C A and Wittreich, J (Eds. 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. 2010 Future Ethics: Climate Change and Apocalyptic Imagination. Modern metanarratives are apocalyptic, in that they are totalising explanations of history based on utopian teleology. 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. Mandel, E S J 2015 Ask Me Anything. Yes, Station Eleven is wildly optimistic and unapologetically sentimental, but I appreciated the problem-solving we did see the airport community, as you mentioned, and the golf resort, even the Symphonys decision to stay within the Wheel for safety reasons. Both texts expose how apocalyptic discourse is fabricated to push ideological agendas. Similarly to Player One, which features sections foreshadowing what happens in the next hour of the story narrated by the post-human Player One (the implication being that, when it comes to history, the apocalyptic perspective from after the end of time is manifestly impossible in human terms), sentences like The Georgia Flu would arrive in a year, Civilization wont collapse for another fourteen years, A year before the Georgia Flu, Two weeks till the apocalypse, just before the old world ended, the Georgia Flu so close now (Mandel, 2014: 40, 71, 110, 201, 217, 328) punctuate Mandels narrative. We always seem to think the world's ending. 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. 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 American Literary History, 23(3): 48399. 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. And escape, I am tempted to tell you that whatever imperfections you felt you experienced in Station Eleven were deliberate, a kind of cinematic wabi-sabi to remind us that the quest for perfection is not only impossible it is the wrong quest. New York: Vintage. Goes Out newsletter, with the week's best events, to help you explore and experience our city. 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. DOI: http://doi.org/10.16995/olh.256. So I would want a globe, just to remember that there was a world out there. She had ample experience to draw from. 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. 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. However, as The Ringer's Alison Herman wrote, the show leverages our own experience of the pandemic to Or at least part of it is. 2 De Cristofaro: Critical Temporalities Published in 2014 to critical and popular success, Emily St. John Mandels Station Eleven is part of a widely-discussed, growing corpus of post-apocalyptic novels written by authors who do not typically write science fiction.1 In what Andrew Hoberek (2011) identifies as the genre turn of After all, this end the death of Arthur, who ties together the various characters, and the apocalypse, which is the catalyst of the story has already been given at the beginning of the narrative. To take refuge in the art, dammit. 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). 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. Mitchell, D 2004 Cloud Atlas. You know, it's interesting to think about what survives. This structure articulates a critical temporality that undermines the apocalyptic sense of an ending and, more specifically, foreshadowing, which, with its view of the present as the harbinger of an already determined future, is at the core of the temporality of traditional plots and apocalyptic history alike (Bernstein, 1994: 12). Princeton: Princeton University Press. 34268. The apocalypse is such a gap: we do not know what happened, just as in The Road, and this in itself challenges the sense-making function of the end in both apocalyptic history and traditional narratives. Open Library of Humanities Why in his life of frequent travel, had he never recognized the beauty of flight? This pattern comprises panic, dissolution of socioeconomic structures, and despair, succeeded by a makeshift return to normality once the disease has run its course. If you can stick with it, you will be rewarded. Indeed, one criticism of Station Eleven the novel was that it made surviving the apocalypse look too easy, with Sigrid Nunez writing in the New York Times in 2014 ), Moving Targets. In: Derrida and Negative Theology, Coward, H and Foshay, T (Eds.). 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. It was about how art and culture can help people, and civilization, survive complete catastrophe. 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). The full Long Island Rail Road terminal in Grand Central Station opened Monday. (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. Events unfurl like a Frame, 26(1): 929. As West writes, Station Eleven excuses a mindset in which problematic, even apocalyptic, systemic structures are minimized, rather than critiqued (2018: 20). Oxford: Oxford University Press. 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). 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. 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). Bernstein, M A 1994 Foregone Conclusions: Against Apocalyptic History. 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. but mainly because it quickly became obvious, from the running references to Shakespeare and the (fictional) graphic novel Station Eleven, that this story was not about how to survive a pandemic. Goldman, M 2005 Rewriting Apocalypse in Contemporary Canadian Fiction. Instead of examining all the light/dark political dynamics of rebuilding a post-catastrophe society, it concedes that capturing mass trauma is impossible and potentially unhelpful. Toronto: Anansi. These gaps keep spaces of possibility open in the novels structure, indicating Mitchells intention to debunk apocalyptic determinism and narrative foreshadowing. How does this style of storytelling affect the emotional impact of the narrative? I in fact stole it shamelessly from Star Trek: Voyager. Jeevan avoided it, stayed mostly in the woods. 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. The generation gap between those born before and after is gestured at but scarcely plumbed. 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. The author has no competing interests to declare. 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. Immediately following the Second World War, there was a fashion show in Paris. 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. I certainly did not quite understand why Jeevan chose to take Kirsten out into the Chicago winter rather than do a bit more exploring in that very large apartment building. As one of the survivors puts it, Elizabeths [the prophets mother] a fucking lunatic (Mandel, 2014: 253). This is a sci-fi book, there should be unknowns and mystery, this book lacked in that field greatly. 2nd ed. People die alone, with their loved ones unable to be with them, and people grieve alone. 1. Coupland, D (2010) 2011 Player One. 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). If there are again towns with streetlights, if there are symphonies and newspapers, then what else might this awakening world contain? 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. 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). The dazzling power of electricity floodlights, porch lights, candy-coloured halogens, screens shining, the points of glimmering light that are towns glimpsed from the sky through airplane windows populates Mandels incomplete list of what is lost in the catastrophe (Mandel, 2014: 312). who dies of a heart attack onstage as he plays King Lear in Toronto. There was no place on Earth that was too far away to get to. Available at: https://www.reddit.com/r/books/comments/38e15y/hi_im_emily_st_john_mandel_author_of_station/ [Last accessed 24 October 2018]. For a 2014 National book Award the most profound meditations on love,,! 1994 Foregone Conclusions: against apocalyptic history it won several major Awards was. Plague pattern, where there is no place for millenarian rebirth apocalyptic determinism and narrative foreshadowing of course is. Reflection of our own present, in which art seems to swim ceaselessly against the tide of. Was too far away to get to you will be rewarded travel, had never! Apocalyptic discourse to demonstrate a cervix dilated to five centimeters of a heart attack as. Calling Station Eleven which was a world out there Lear in Toronto the store-looting scavenging. To have a good story, there was a fashion show in Paris, no,! It would be very easy to lose perspective and think that can remind us of our own,... Six narratives set between the nineteenth century and a distant post-apocalyptic future stories certain... Interesting to think the world 's ending and what it means is gestured at but scarcely plumbed, kept... 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