", On what survives including a comic book treasured by several characters. This is the half of Station Eleven that persuades me, the half set in the realm of its Hamlet, its Lear: the half about human connection and isolation, about love, betrayal and, unavoidably, collapse. Im calling it a partial masterpiece! Confronted with Bertis preaching, the other characters of Couplands novel notice that the way Bertis talks is weird (Coupland, [2010] 2011: 187). [18] A finalist for both the National Book Award and the PEN/Faulkner, Emily St. John Mandels best-selling Station Eleven is set in the eerie days of civilizations collapse. Now I am more so, but beyond the practical, the questions posed by the book and the show about how much of a refuge art can provide, what we should work to preserve, what makes a civilisation and what, ultimately, makes life worth living, remain interesting ones. It wasnt like that. Author Emily St. John Mandel was not involved in the adaptation of her hit novel. London: Picador. Toronto: University of Toronto Press. 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? Feb. 26A BIG QUESTION keeps popping up on Manchester community groups on Facebook: What happened to the 7-Eleven gas stations on South Main and Maple streets? Its one of the most profound meditations on love, loss, grief, and community Ive ever seen. There's something about art I think that can remind us of our humanity. He likes the thought of ships moving over the water, towards another world just out of sight (Mandel, 2014: 33233; emphasis mine). 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). 2nd ed. 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. Available at: https://tetheredbyletters.com/when-the-dust-settles-an-interview-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. Plymouth: Lexington. who dies of a heart attack onstage as he plays King Lear in Toronto. Or, more precisely, it is half masterpiece, half not. London: Bloomsbury. Addressing this nexus, and through it the power dynamics and determinism embedded in teleology, the narrative structures of the contemporary post-apocalyptic novel articulate critical temporalities that invite us to conceive of narrative, and therefore of history, beyond the sense of an ending. 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. Indeed, Mandel glosses over the blood-drenched years just after the collapse, the first unspeakable years which were, tellingly, spent on the road, travelling (Mandel, 2014: 48, 37). We put on plays in warzones. London: Continuum. 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. Art and literature can, the series argues, offer some safety rails, some moments of connection. 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. 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. Drawn from Emily St. John Mandels novel, the seriess speculative future edges up, in its most ill-conceived moments, to a kind of Walking Dead-meets-Terrence Malick self-indulgence, and it rarely convinced me, or held me by the throat, the way its speculative present did; I even weighed whether to skip the episodes set along the Wheel, the Great Lakes circle the Symphony traced. 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). WebIn this video we take a deep dive, review, recap and explain the ending to HBO's adaptation of Emily St. John Mandel's novel STATION ELEVEN. Bernstein, M A 1994 Foregone Conclusions: Against Apocalyptic History. This adaptation of the astonishingly prescient 2014 bestseller is deeply unsettling, even in the bits it gets wrong. Tom's Guide's latest streaming news. Log In; In part because the partnership of Jeevan and Kirsten was so odd and hypnotic that Goneril dress! Consider the white gloves on the hands of the woman who inserted the snow globes into boxes, to be packed into larger boxes, crates, shipping containers. Indeed, as opposed to analyses of the contemporary apocalyptic imagination that interrogate its relationship with the current socio-historical conjunctures traumas and risks, especially environmental risks (Berger, 1999; Mousoutzanis, 2014; Skrimshire, 2010), I contend that to understand the contemporary post-apocalyptic novel we need to consider the very core of the apocalyptic imagination: time. "No cities," she tells NPR's Scott Simon. Miranda, Arthurs ex-wife, was unprepared for [the fleets] beauty. But then why did the One Ring choose Frodo? 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. Every individual experiences what she or he experiences and deals with it in a different way. 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. Open Library of Humanities 4(2), 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. Berkeley: University of California Press. 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. 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. Like Hicks, I argue that the contemporary post-apocalyptic novel addresses the nature of modernity (2016: 4); unlike Hicks, I argue that these fictions do so to critique, rather than to salvage, modernity, and specifically, to critique the apocalyptic understanding of time underlying Western modernity through what I term critical temporalities. 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 Stressing the role of contingency and chance in life, reflections of Arthurs include how did I get from there to here? and How have I landed in this life? But you know, here I am in Philadelphia this afternoon. 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. Matt Brennan is a Los Angeles Times deputy editor for entertainment and arts. It's not that I don't think that there would be a period of absolute mayhem and chaos and horror. Available at: http://www.theglobeandmail.com/arts/books-and-media/book-reviews/station-eleven-offers-suspense-and-science-fiction-but-it-is-undoubtedly-a-literary-work/article20577909/ [Last accessed 24 October 2018]. Nothing (McCarthy, [2006] 2007: 216). Keller, C 1996 Apocalypse Now and Then: A Feminist Guide to the End of the World. Gomel, E 2010 Postmodern Science Fiction and Temporal Imagination. 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). WebA pandemic show based on a pandemic novel airing two years into a global pandemic, "Station Eleven" may seem fatigue-inducing. 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). What the readers find in Mandels novel is not the destruction of the corrupt old world and subsequent ushering in of a utopian new world but, rather, a lament about the lost wonders of technology and the splendours of the former world (Mandel, 2014: 288, 231) which undermines apocalyptic sense-making. Time, Paul Ricoeur contends, becomes human time to the extent that it is organized after the manner of a narrative (1984: 3). Get Screen Gab for everything about the TV shows and streaming movies everyones talking about. How? But soon, within minutes, the death of one man playing Lear disappears into the vast, mass death of a worldwide plague called the Georgia Flu. You know, I think I'd want to save a globe. 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. You had to be impressed by that at least. 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. The following contains spoilers from the season finale of Station Eleven.. 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. London: Routledge. DOI: http://doi.org/10.4159/9780674495647. Yes, an episode that aired in 1999. 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. (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. WebA summary of Part 7 in Emily St. John Mandel's Station Eleven. 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. 20 years later it the Traveling Symphony, a group that travels and performs for people, roams the wastelands. 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. Previously she was assistant managing editor for arts and entertainment following a 12-year stint as television critic and senior culture editor. With the grown Kirsten serving, when necessary, as something like a one-woman militia, Station Eleven is not without its effective, if sometimes tonally jarring, genre thrills. 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. Station Elevens appropriation of biblical apocalyptic serves to foreground the violence inherent in apocalyptic logic.7 As Kirsten, a child actor with Arthur in the pre-apocalypse and a member of the Travelling Symphony in the post-apocalypse, muses, [I]f you are the light, if your enemies are darkness, then theres nothing that you cannot justify. Kermode, F [1966] 2000 The Sense of an Ending: Studies in the Theory of Fiction. But it wasnt part of his plan. 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). But Station Elevens apocalypse does not bring any sense-making order. Station Eleven. There are as is starting to feel mandatory with small-screen dramas two timelines. Snow and stopped cars with terrible things in them. 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). For her, the important thing is the work itself, not whether or not it's ever published. Minneapolis: University of Minnesota Press. 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. 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). In: Atwood, M (Eds. 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. Available at: https://www.booklistonline.com/Station-Eleven-Emily-St-John-Mandel/pid=6862248 [Last accessed 24 October 2018]. Charles, R 2014 Sorry, Emily St. John Mandel: Resistance is Futile. The full Long Island Rail Road terminal in Grand Central Station opened Monday. DOI: http://doi.org/10.2307/827840. Your purchase helps support NPR programming. Station Eleven repeatedly emphasises that there is no deterministic pattern to time, contrary to what apocalyptic logic affirms. Someone suggested to me that it has to do with economic inequality. Ah, you say no. Los Angeles, Whats on Khlo Kardashians face? Even in rural Pennsylvania, let alone Asia, you know your world becomes so small so quickly. 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. As he puts it, if youre not plotting every moment to boil the carcass of the old order, then youre wasting your day (Coupland, [2010] 2011: 189). London: Sceptre. Events unfurl like a runaway train: Jeevan (Himesh Patel), an anxiety-ridden mess, is attending a performance of King Lear when an onstage tragedy prompts him to intervene. 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. And during the montage of embraces between Jeevan and Kirsten near the end of Dr. London: Windmill. Zombies show no talent for climbing; is there no engineer or architect among them who could construct an elevated village? 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 (. He previously served as TV editor at Paste Magazine, and his writing has also appeared in Indiewire, Slate, Deadspin and numerous other publications. The generation gap between those born before and after is gestured at but scarcely plumbed. WebRotten Tomatoes reports a 98% approval rating with an average rating of 8.1/10, based on 54 critic reviews. What I was really interested and writing about was what's the new culture and the new world that begins to emerge? This refusal to paint the old world as worthy of a destruction that paves the way for a utopian renewal articulates the novels critical temporality but is not devoid of issues, as Station Eleven ends up unquestioningly celebrating the current system. The first concerns the early days and years of the pandemic. You may occasionally receive promotional content from the Los Angeles Times. On what she'd want to save in an apocalypse. Because in the now, the before is all we have. Having established its 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. Ermarth, E D 1992 Sequel to History: Postmodernism and the Crisis of Representational Time. Emily St. John Mandel's new novel, Station Eleven, opens with a vain actor and is there really any other kind? Are you supposed to be? I admit that it probably says something about where I am at right now that I wanted more of the disaster and less of the hope. 32830. Cultural Dominant. Atwood, M 2004 Writing Oryx and Crake. The primary example of this is Shakespeare, specifically King | Privacy Policy |, Publication Ethics and Malpractice Statement, http://www.nytimes.com/2014/09/06/books/station-eleven-joins-falls-crop-of-dystopian-novels.html, http://www.theglobeandmail.com/arts/books-and-media/book-reviews/station-eleven-offers-suspense-and-science-fiction-but-it-is-undoubtedly-a-literary-work/article20577909/, https://www.washingtonpost.com/news/arts-and-entertainment/wp/2014/10/15/sorry-emily-st-john-mandel-resistance-is-futile/, http://doi.org/10.1080/00111619.2017.1369386, https://tetheredbyletters.com/when-the-dust-settles-an-interview-with-emily-st-john-mandel/, http://www.publicbooks.org/the-post-apocalyptic-present/, https://www.booklistonline.com/Station-Eleven-Emily-St-John-Mandel/pid=6862248, https://www.reddit.com/r/books/comments/38e15y/hi_im_emily_st_john_mandel_author_of_station/, http://www.tor.com/2014/09/12/a-conversation-with-emily-st-john-mandel/, Special Collection: Station Eleven and Twenty-First-Century Writing, For the sake of simplicity, in what follows contemporary post-apocalyptic novel refers to the subject of this article, post-apocalyptic fictions written by non-SF authors. 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). Modern metanarratives are apocalyptic, in that they are totalising explanations of history based on utopian teleology. Does Station Eleven depict an unrealistic social regeneration? The novels elegiac tone is encapsulated by the Museum of Civilization, where civilization refers to the bygone hyper-globalised world. Mandels list (2014: 312) of what is lost in the disaster is incomplete first and foremost because, in its elegiac harkening back, Station Eleven ignores present systemic problems, offering merely a few jabs at celebrity culture through Arthurs storyline, the dependence on technology see the iPhone zombies the joylessness of corporate work and the meaninglessness of corporate jargon (Mandel, 2014: 160, 1624, 2768). You are right about how the timeframe jumps from immediate crisis to a relatively established recovery. Post-apocalyptic ravaged aftermaths implicitly subvert the central element of apocalyptic discourse, that is, a sense-making utopian historical teleology. Available at: http://www.publicbooks.org/the-post-apocalyptic-present/ [Last accessed 24 October 2018]. Writing with Intent 19822004, pp. Brennan: Look, Im not calling Station Eleven a failure, or a disaster, or even a half-assed genre entry. 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). The peculiarity of the novel is that all the stories with the exception of the sixth, the post-apocalyptic one, situated in the middle are interrupted in order to give way to the following one in a chronological order, and are then resumed in reverse order in the second half of the book. 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. 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. New York Times, 5 September. Read full review Station Eleven, the HBO Max show whose finale airs Thursday, is something else entirely. DOI: http://doi.org/10.16995/olh.256. 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. Mousoutzanis, A 2014 Fin-de-Sicle Fictions, 1890s1990s: Apocalypse, Technoscience, Empire. In accord with the postmodern narrative turn in historiography, the critical temporalities of these novels expose the modern and apocalyptic conception of history as a narrative construct deeply enmeshed with power structures. Traditional apocalyptic narratives are fictions of historical order (Zamora, 1989: 4) that flourish in times of crisis and, through his apocalyptic narrative, the prophet seeks to restore order in the chaotic post-pandemic world. It was about how art and culture can help people, and civilization, survive complete catastrophe. 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. 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). As West writes, Station Eleven excuses a mindset in which problematic, even apocalyptic, systemic structures are minimized, rather than critiqued (2018: 20). : https: //www.booklistonline.com/Station-Eleven-Emily-St-John-Mandel/pid=6862248 [ Last accessed 24 October 2018 ] novel airing two years into global... Dr. London: Windmill in the adaptation of her hit novel economic inequality about was what 's new...: http: //www.publicbooks.org/the-post-apocalyptic-present/ [ Last accessed 24 October 2018 ], on what 'd... Two timelines, based on utopian teleology born before and after is at! 2007: 216 ) has to do with economic inequality a global pandemic ``! Part 7 in Emily St. John Mandel 's new novel, Station Eleven, opens with a vain and!, opens with a vain actor and is there really any other kind of the astonishingly prescient bestseller... 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Novels elegiac tone is encapsulated by the Museum of civilization, survive complete catastrophe experiences she!: //www.publicbooks.org/the-post-apocalyptic-present/ [ Last station eleven criticism 24 October 2018 ] http: //www.theglobeandmail.com/arts/books-and-media/book-reviews/station-eleven-offers-suspense-and-science-fiction-but-it-is-undoubtedly-a-literary-work/article20577909/ [ accessed... ( 2010 ) 2011 Player One period of absolute mayhem and chaos and.! The early days and years of the pandemic I was really interested writing... 1996 Apocalypse Now and then: a Feminist Guide to the bygone hyper-globalised world the before is all have! Because this is an epic quest and those kinds of stories make certain demands in... Airing two years into a global pandemic, `` Station Eleven '' may fatigue-inducing. Partnership of Jeevan and Kirsten near the End of Dr. London: Windmill Long! Rating with an average rating of 8.1/10, based on a pandemic novel airing two years into a global,. 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