The series creator explains why, Station Eleven, like the Shakespeare that sustains it, is something of a miracle, Unlike Andor, Mandalorian is going all in on Star Wars lore. 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. doi: https://doi.org/10.16995/olh.206, Download XML 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). 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. You know, it's interesting. DOI: http://doi.org/10.4324/9780203969908. The final season of Game of Thrones notwithstanding, I remain a big fan of the epic quest, so I chose surrender. There are any number of access points for a comparison of these two shows. Skrimshire, S (Eds.) Minneapolis: University of Minnesota Press. The Book of Revelation, the final book of the New Testament and the central text of religious apocalypticism, is ultimately not about the catastrophic end of the material world, but rather the revelation of a utopian new world, the New Jerusalem, the divine kingdom which awaits the faithful at the end of history.3 This utopian teleology is central to the Western understanding of time, indeed, [the apocalyptic] vision of history gives rise to history as a theoretical production (Keller, 1996: 89) and the traditional apocalyptic paradigm lies at the very core of secular Western modernity.4 The age of discovery and colonialism is informed by apocalyptic beliefs, as suggested by the trope of the new world (Keller, 1996). 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. And during the montage of embraces between Jeevan and Kirsten near the end of Dr. The primary example of this is Shakespeare, specifically King 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 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. Los Angeles, Whats on Khlo Kardashians face? The full Long Island Rail Road terminal in Grand Central Station opened Monday. | ISSN: 2056-6700 | Beauty features far more prominently in descriptions and memories of the pre-apocalypse. 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). Station Eleven. London: Continuum. WebSee 10 photos and 3 tips from 190 visitors to 7-Eleven. 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 ). 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. 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. 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). Tom's Guide's latest streaming news. DOI: http://doi.org/10.16995/olh.256. 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). Because in the now, the before is all we have. The first few episodes look beautiful but move at a stately pace. Id long since grown skeptical of most topical art, often so calculated in its conclusions, but as Omicron surged and 2022 plans were suddenly canceled, Station Eleven began to feel like the first great screen fiction about the pandemic. I read, If you want the girl next door, go next door: Lori Petty on Station Eleven and surviving Hollywood, Anuplifting pandemic drama? 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. Station Eleven. Boston: Beacon. Station Eleven is a slow burn. The sweeping waste, hydroptic and coldly secular. Foursquare City Guide. 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 This is a reference to Revelation 20:1115: during the Last Judgment, people are judged according to their deeds, which are written in books, and only those whose name is in the book of life will be allowed to dwell with god in the new heaven and earth of the New Jerusalem. The Flash-forward Glimpses DOI: http://doi.org/10.1080/00111619.2017.1369386. I even caught myself asking a blasphemous question: If art were truly capable of saving us, wouldnt we already have been saved? Modernism, Postmodernism, and the Twentieth-Century Novel. Author Emily St. John Mandel was not involved in the adaptation of her hit novel. Rather than stressing the end, the emphasis is on the present and its ethical value, as the moment in which individuals take choices that inform the future. DOI: http://doi.org/10.16995/olh.235. If I lived in Philadelphia, I would have no idea what was going on. 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. This critique of teleology is reflected in Station Elevens narrative structure. 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. We tend to think about the apocalypse as a catastrophe of enormous proportions and overwhelming consequences, something which, then, brings about a dystopian post-apocalyptic scenario. 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. As West writes, Station Eleven excuses a mindset in which problematic, even apocalyptic, systemic structures are minimized, rather than critiqued (2018: 20). Are you supposed to be? 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. To take refuge in the art, dammit. Even the Georgia Flu, Jeevan notes, has a disarmingly pretty name (Mandel, 2014: 17). Download PDF. A Pulitzer Prize winner in 2015 and finalist for criticism in 2013 and 2014, she has won various awards for criticism and feature writing. 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. 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 Station Eleven soundtrack song accompanies a flashback sequence. 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. De Cristofaro, D 2013 The Representational Impasse of Post-Apocalyptic Fiction: The Pesthouse by Jim Crace. 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). DOI: http://doi.org/10.1057/9781137430144, Munslow, A 2006 Deconstructing History. 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. It seemed at least plausible to me that there would eventually be some kind of hope. WebA pandemic show based on a pandemic novel airing two years into a global pandemic, "Station Eleven" may seem fatigue-inducing. Just like McCarthys father and son, Jeevan and [A]lmost everyone was moving south in a silent landscape. 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. Miranda curtly rebukes Elizabeths apocalyptic belief that everything happens because it was supposed to happen by saying Id prefer not to think that Im following a script (Mandel, 2014: 106). Open Library of Humanities, 4(2): 8, 123. The series creator explains why. 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). Get Screen Gab for everything about the TV shows and streaming movies everyones talking about. Yeah, I was interested in the randomness of what survives and what doesn't. The chaos of historical contingency chaos which is even more evident and dreadful at times of crisis, such as that of the devastating Georgia Flu is tamed through the recourse to apocalyptic determinism, namely, to the belief that everything happens for a reason, as the prophets mother repeats throughout the novel. How Station Eleven pulled off the impossible, Original reporting and incisive analysis, direct from the Guardian every morning. Israeli police lobbed hundreds of stun grenades, fired water cannons and arrested at least 40 people in response to Wednesdays demonstration in Tel Aviv against a judicial overhaul. 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. In the new miniseries "Station Eleven," it's two decades after a deadly flu pandemic, and global civilization has nearly collapsed. 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). Whats on the other side? 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. The mere existence of a character like the Conductor, played with bug-eyed, Emmy-worthy brilliance by Petty, made my heart sing. Published by Station Eleven, the HBO Max show whose finale airs Thursday, is something else entirely. 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). Just like Bertis, Tyler uses contrived rhythms and repetition in his speeches, so much so that Kirsten notes a suggestion of a trapdoor waiting under every word [of his] (Mandel, 2014: 59). 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. Oxford: Oxford University Press. 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.). Firstly, Times Arrow bec[o]me[s] Times Boomerang (Mitchell, 2004: 149), that is, the linear and teleological development of traditional plots and apocalyptic history the arrow of the novels first half is complicated by the boomerang of the second half. 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. He likes the thought of ships moving over the water, towards another world just out of sight (Mandel, 2014: 33233; emphasis mine). Brennan: Look, Im not calling Station Eleven a failure, or a disaster, or even a half-assed genre entry. 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. Indeed, both Station Eleven and Player One emphasise how the teleological determinism and moral dualism of apocalyptic logic are self-referential narrative constructs which legitimise the oppressions and violence of those who articulate these narratives. Miranda, Arthurs ex-wife, was unprepared for [the fleets] beauty. 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. The final minutes of the Station Eleven finale reunite Kirsten (Mackenzie Davis) and Jeevan (Himesh Patel) after 19 years apart. 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. Station Elevens structure similarly articulates a critical temporality that complicates the sense of an ending. Jeevan avoided it, stayed mostly in the woods. "No cities," she tells NPR's Scott Simon. 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. 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. 2nd ed. It won several major awards, was an NPR Books Concierge pick, and it's just come out in paperback. Goldman, M 2005 Rewriting Apocalypse in Contemporary Canadian Fiction. 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. If one of the precepts of the series own holy text, a graphic novel, is show, dont tell, it seems to me indicative of the series strengths that its most moving moments feature spliced-in images, memories, of the characters former selves. Despite the tidy conclusion, I can only hope creator Patrick Somerville and HBO Max are in negotiations for a second season. As time passes through the night the world starts to crumble. This dynamic is what Frank Kermode terms the sense of an ending: We project ourselves a small, humble elect perhaps past the end, so as to see the structure whole, a thing we cannot do from our spot of time in the middle ([1966] 2000: 8). Because it seems like an improbable outcome, when I look back at the sequence of events (Mandel, 2014: 77, 157). Snow and stopped cars with terrible things in them. But book awards and paperback releases are a thing of the past in the world Mandel has created. Station Eleven requires audiences to pay attention, offering up a dramatic tapestry of considerable depth. 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). The concluding discovery of a town with a functioning electrical grid (Mandel, 2014: 311) suggests not the advent of a radical new world and the revelation of a sense-making pattern to history, but, rather, that civilisation might slowly revert to its pre-apocalyptic state and given the positive and optimistic tone of the conclusion, reinforced by the way in which electricity and lights are repeatedly described as beautiful, this, too, indicates the novels problematic celebration of the current system. Ah, you say no. And, as a sniper, he believes he is clearing the way for gods new utopian order, for [T]he people [he] shot bothered God. Station Eleven has been a best seller. You had to be impressed by that at least. the Prophet, reconciles with his mother (Caitlin FitzGerald); graphic novelist Miranda Carroll (Danielle Deadwyler) meets her fate; Sarah (Lori Petty) shuffles off this mortal coil; and, most importantly, Kirsten (Mackenzie Davis as a adult, Matilda Lawler as a child) reunites with Jeevan (Himesh Patel), capping off one of the most finely wrought love stories in recent TV history. I remember describing the premise of the novel to my husband, and he said, "People would want what was best about the world. | 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. There's something about art I think that can remind us of our humanity. 2nd ed. Station Eleven has been a best seller. WebRotten Tomatoes reports a 98% approval rating with an average rating of 8.1/10, based on 54 critic reviews. We always seem to think the world's ending. Herein lies its critical distance from the utopian teleology of the traditional apocalyptic paradigm. 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. Mary McNamara is a culture columnist and critic for the Los Angeles Times. 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. Clark lashes out at Arthur after a bender; the music scores the end of the episode at 00:56. It wasnt like that. 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. 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? And one that in its most poignant moments reaches the same depths of emotion as the greatest television dramas: as Beasts of the Southern Wild composer Dan Romers roadside jug-band score measures the heartbeat of the end of the world; as the camera catches the glimmer of tears in Tylers eyes during that final performance of Hamlet; as an impromptu rap song or homemade costume render the pain of the human condition at a single humans scale. Thus, the critical temporalities of contemporary post-apocalyptic fictions challenge the hegemonic temporality of modernity: time as a neutral, homogeneous and teleological continuum. Furthermore, teleology entails determinism, which compromises the possibility of choices and ethics. 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 London: Picador. Art and literature can, the series argues, offer some safety rails, some moments of connection. Station Eleven, a ten-part limited series from HBO, is adapted from Emily St. John Mandels bestselling 2014 novel of the same name, which won the Arthur C. Clarke award and has sold more than 1.5 million copies. Available at: https://tetheredbyletters.com/when-the-dust-settles-an-interview-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. 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. Tom's Guide's latest streaming news. 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. This pattern comprises panic, dissolution of socioeconomic structures, and despair, succeeded by a makeshift return to normality once the disease has run its course. Hardly by chance, schooling in the post-apocalypse insists on transports and communications that create a hyper-connected world in which borders are meaningless: Satellites beamed information down to Earth. 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. Georgia Flu, Jeevan and Kirsten near the end of Dr have no idea what was on... I remain a big fan of the Station Eleven pulled off the impossible, Original reporting and incisive,... 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