Clark lashes out at Arthur after a bender; the music scores the end of the episode at 00:56. 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. Chaudhary that stuck, as the series has it, to the surprises of just what happened, and so actualized our own collapsing civilization through burning houses and corpse jets and big box stores-turned-maternity wards. 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. 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 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 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. 2nd ed. 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. If there are again towns with streetlights, if there are symphonies and newspapers, then what else might this awakening world contain? 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. Open Library of Humanities, 4(2): 8, 123. This pattern comprises panic, dissolution of socioeconomic structures, and despair, succeeded by a makeshift return to normality once the disease has run its course. In order to have a good story, there needs to be emotion or entertainment. London: Continuum. The first few episodes look beautiful but move at a stately pace. Yet, she explains, it was important to me to not write that book [The Road]. 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. 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. ", On what survives including a comic book treasured by several characters. The refusal of this transition, I argue, is at the core of contemporary post-apocalyptic novels be they about pandemics or not for in these texts the aftermaths of the cataclysmic destruction of the world as we know it are preponderantly dystopian.8 In this section, I compare Station Elevens more nuanced and hopeful version of the aftermath with The Roads univocally ravaged and hopeless post-apocalyptic world to discuss how, notwithstanding varying degrees of dystopian scenarios, contemporary post-apocalyptic fictions consistently articulate critical temporalities that reject the traditional apocalyptic notion of a utopian teleology active in history. Station Eleven self-reflexively emphasises this difference between traditional and contemporary apocalyptic imagination. 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. This critique of the sense of an ending is particularly important because, while it may be innocuous in narratives, if we construct history according to a teleological narrative model, we subscribe to determinism and a totalising explanation of the flow of time that risks justifying oppressions as part of a necessary pattern tending towards betterment. Available at: https://www.clarkeaward.com/2015-winner/ [Last accessed 24 October 2018]. "No cities," she tells NPR's Scott Simon. Station Eleven and The Last of Us share one more very specific similarity: juxtaposing destruction with art. You had to be impressed by that at least. Matt Brennan is a Los Angeles Times deputy editor for entertainment and arts. The novels elegiac tone is encapsulated by the Museum of Civilization, where civilization refers to the bygone hyper-globalised world. There was no place on Earth that was too far away to get to. 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. WebRotten Tomatoes reports a 98% approval rating with an average rating of 8.1/10, based on 54 critic reviews. 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. Station Eleven 's premise is terribly current for the post-COVID world. Heres what to know, From Chris Rock to the SAG Awards. Available at: https://www.reddit.com/r/books/comments/38e15y/hi_im_emily_st_john_mandel_author_of_station/ [Last accessed 24 October 2018]. You may occasionally receive promotional content from the Los Angeles Times. DOI: http://doi.org/10.16995/olh.256. I dont [sic] think so. Station Eleven has been a best seller. WebStation Eleven contains many explicit references to other works of art, and relies on them heavily for source material. I in fact stole it shamelessly from Star Trek: Voyager. These gaps keep spaces of possibility open in the novels structure, indicating Mitchells intention to debunk apocalyptic determinism and narrative foreshadowing. 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. One of the things that drove me away from The Walking Dead was the core characters lack of expertise and inability to problem-solve. Modern metanarratives are apocalyptic, in that they are totalising explanations of history based on utopian teleology. Events unfurl like a 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. Open Library of Humanities 4(2), 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. Therefore, the plot of pestilence is not so much a fiction of an end as a fiction of an end indefinitely postponed. London: Picador. Station Eleven , the HBO Max show whose finale airs Thursday, is something else entirely. DOI: http://doi.org/10.4159/9780674495647. 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. Station Eleven is a slow burn. Lighter moments leaven the darkness, particularly when the irreducibly charismatic and off-kilter Lori Petty, as the troupes composer Sarah, is on screen, or when we flash back to pre-pandemic times. ), entropy reigns. who dies of a heart attack onstage as he plays King Lear in Toronto. Station Eleven, the HBO Max show whose finale airs Thursday, is something else entirely. Log In; 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. Station Eleven. 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. 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. She was the leader of a band of survivors not because she was a ruthless martial arts expert but because she continued to write symphonies, and understood that music and theater fulfill a deep-seated need. Season 1 Review: Station Eleven takes Mandels book and amps up its sense of a cozy post-apocalypse, where humanity comes together, rather than drifting 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 things Jeevan sees vividly recall The Road. Minneapolis: University of Minnesota Press. But series creator Patrick Somerville had her blessing to change it. 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." Are you supposed to be? As West writes, Station Eleven excuses a mindset in which problematic, even apocalyptic, systemic structures are minimized, rather than critiqued (2018: 20). In the new miniseries "Station Eleven," it's two decades after a deadly flu pandemic, and global civilization has nearly collapsed. ow deeply strange it is, how deeply unsettling, to be able to compare and contrast a fictional pandemic with the real thing. 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). 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. 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). The survivors are the elect who, as he puts it, were saved not only to bring the light, to spread the light, but to be the light. 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). 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. Globe and Mail, 12 September. 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. 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 could remind us of our civilization. In the new HBO Max series Station Eleven, Davis plays the lead as a tough but vulnerable survivor of a pandemic. Post-apocalyptic ravaged aftermaths implicitly subvert the central element of apocalyptic discourse, that is, a sense-making utopian historical teleology. 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). So I would want a globe, just to remember that there was a world out there. We always seem to think the world's ending. Toronto: University of Toronto Press. 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). So that line became almost the thesis statement of the entire novel. 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. 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. 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). And I think it would be very easy to lose perspective and think that this was the entire world. There is no emotion and it is not greatly I very purposely set much of the action 15 and then 20 years after that flu pandemic. 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. 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). Both texts expose how apocalyptic discourse is fabricated to push ideological agendas. London: Routledge. Apocalyptic writings, ever since their religious origins, have flourished at times of crisis and [I]t is to this disquieting sense of disorder that the apocalyptic myth speaks, reasserting teleological design and cosmic meaning (Rosen, 2008: xviii). 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. 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). Charles, R 2014 Sorry, Emily St. John Mandel: Resistance is Futile. The sweeping waste, hydroptic and coldly secular. Emily St. John Mandels fourth novel Station Eleven recently made the National Book Awards shortlist for fiction. This ambitious story tackles a post-apocalyptic world in which a super flu has wiped out the majority of the population. Quinby, L 1994 Anti-Apocalypse: Exercises in Genealogical Criticism. Notice, in this sense, Clarks musings on the snow globe housed in the Museum. However, Station Elevens post-apocalyptic scenario is very different from McCarthys and, signifying the shift away from The Road, not only does Jeevan keep out of the road, but Kirsten cannot, and does not want to, remember anything about the traumatic year she spent on the road immediately following the catastrophe (Mandel, 2014: 195, 295). The prophet believes that everything that has ever happened on this earth has happened for a reason (Mandel, 2014: 59), including the Georgia Flu, which he sees as a perfect agent of death [that] could only be divine (Mandel, 2014: 60). 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. 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 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 (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. 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? WebA pandemic show based on a pandemic novel airing two years into a global pandemic, "Station Eleven" may seem fatigue-inducing. Washington Post, 15 October. "don't have any 7-eleven stores where I live so when I seen that there 7-eleven's my one" Convenience Store in People die alone, with their loved ones unable to be with them, and people grieve alone. Your purchase helps support NPR programming. 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. 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. Mary McNamara is a culture columnist and critic for the Los Angeles Times. Im calling it a partial masterpiece! This critique of teleology is reflected in Station Eleven s narrative structure. Time, Paul Ricoeur contends, becomes human time to the extent that it is organized after the manner of a narrative ( 1984: 3 ). 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). Cameron, C 2014 Station Eleven Offers Suspense and Science Fiction, but It Is Undoubtedly a Literary Work. But then why did the One Ring choose Frodo? Emily St. John Mandel. 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