WebSee 10 photos and 3 tips from 190 visitors to 7-Eleven. Plymouth: Lexington. 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. Get Screen Gab for everything about the TV shows and streaming movies everyones talking about. Available at: http://www.publicbooks.org/the-post-apocalyptic-present/ [Last accessed 24 October 2018]. You are right about how the timeframe jumps from immediate crisis to a relatively established recovery. There was no place on Earth that was too far away to get to. 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. Goes Out newsletter, with the week's best events, to help you explore and experience our city. Available at: https://www.booklistonline.com/Station-Eleven-Emily-St-John-Mandel/pid=6862248 [Last accessed 24 October 2018]. 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). On the Traveling Symphony's motto, "survival is insufficient"It is not from Shakespeare. While the novels prophet holds on to a religious understanding of apocalypse in which the end is followed by utopian rebirth, the Georgia Flu, the pandemic that kills 99% of the worlds population, is termed apocalypse by the television newscasters in the sense of dystopian catastrophe rather than utopian revelation, and the apocalyptic narratives referred to in the text are disaster movies, with the dangerous stragglers fighting out for the last few scraps (Mandel, 2014: 243, 256). And I think it would be very easy to lose perspective and think that this was the entire world. Yes, an episode that aired in 1999. doi: https://doi.org/10.16995/olh.206, Download XML This is a sci-fi book, there should be unknowns and mystery, this book lacked in that field greatly. 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). You know, it's interesting. I mean, extra points for level of difficulty, no? 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. Quinby, L 1994 Anti-Apocalypse: Exercises in Genealogical Criticism. According to Elana Gomel, plague narratives are structured by the logic of iterative mortality that undermines the teleological progression of the apocalypse. 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? The contemporary post-apocalyptic novel, instead, is not only predominantly dystopian but articulates temporalities critical of the apocalyptic model of history to make space for unwritten futures which are key to agency. Public Books, 15 June. The Swiss Family Robinson managed, and they were mostly kids! 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). 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. 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. Station Elevens structure similarly articulates a critical temporality that complicates the sense of an ending. 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. 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. This critique of teleology is reflected in Station Elevens narrative structure. I hadnt read the book, so I had no idea what I was in for, but I certainly was not prepared for a very young Shakespearean actress trotting around snowy Chicago in her young Goneril costume as the world collapsed. 2nd ed. The first few episodes look beautiful but move at a stately pace. 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. Minneapolis: University of Minnesota Press. 32830. Im calling it a partial masterpiece! In her study of contemporary Canadian apocalyptic narratives, Marlene Goldman writes that: Canadian authors introduce particular twists to the familiar myth of the end by challenging rather than embracing apocalypses key features, specifically, the purgation of the non-elect and the violent destruction of the earthly world in preparation for the creation of a divine one (2005: 6). 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. And, as a sniper, he believes he is clearing the way for gods new utopian order, for [T]he people [he] shot bothered God. West, M 2018 Apocalypse Without Revelation? 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 even caught myself asking a blasphemous question: If art were truly capable of saving us, wouldnt we already have been saved? His co-stars can't remember if he had a family to notify. The full Long Island Rail Road terminal in Grand Central Station opened Monday. 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 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. Or at least part of it is. As time passes through the night the world starts to crumble. Immediately following the Second World War, there was a fashion show in Paris. So yeah, there is a comic book that's drawn by a character in the present day. Mary McNamara is a culture columnist and critic for the Los Angeles Times. Yes, there were dangers there, but no doubt there was also a lot of food and, potentially, fellow nonmurderous survivors. Toronto: University of Toronto Press. Bernstein, M A 1994 Foregone Conclusions: Against Apocalyptic History. Among the 1% left Himesh Patel and Matilda Lawler in Station Eleven. The Georgia Flu, the prophet claims, was our flood. 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). Art and literature can, the series argues, offer some safety rails, some moments of connection. Further threads arise from the stories of other settlements one led by Clark and the female actor (Elizabeth, played by Caitlin FitzGerald, who ended up marrying Arthur after an affair they began while he was with Miranda) and begin to be woven together. Heres what to know, From Chris Rock to the SAG Awards. The spectre of the 2008 economic crisis and ensuing recession does haunt the novel, in which 12 percent of the worlds shipping fleet lay at anchor off the coast of Malaysia, container ships laid dormant by an economic collapse (Mandel, 2014: 28). 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. 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. 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. Miranda, Arthurs ex-wife, was unprepared for [the fleets] beauty. By the same token, Station Elevens prophet terrorises the population of the region, assembles a cult, and gains power thanks to a combination of charisma, violence, and cherry-picked verses from the Book of Revelation (Mandel, 2014: 280), where cherry-picked underlines the constructedness of Tylers prophecy. Someone suggested to me that it has to do with economic inequality. If I lived in Philadelphia, I would have no idea what was going on. Clark lashes out at Arthur after a bender; the music scores the end of the episode at 00:56. Clarks optimistic musings on the possibility of ships and life in the countries on the other side of the ocean stand in stark contrast to the fathers answers to his son: Do you think there could be ships out there? It's not that I don't think that there would be a period of absolute mayhem and chaos and horror. Learn exactly what happened in this chapter, scene, or section of Station Eleven and what it means. I did find it hilarious that, during the winter flashback, the roads were plowed, a sleight of hand Somerville admits was necessary for production to continue. WebFull Review | Jan 12, 2022. Perhaps it's wishful thinking on my part, but I did like the idea that a Shakespearean company might be able to make it. The word beauty recurs in the descriptions of the post-flu world: the beauty of this world where almost everyone was gone, there was beauty in the decrepitude this dazzling world, It was very difficult, but there were moments of beauty (Mandel, 2014: 148, 297, 302). Berger, J 1999 After the End: Representations of Post-Apocalypse. London: Windmill. 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.). Ah, you say no. Post-apocalyptic ravaged aftermaths implicitly subvert the central element of apocalyptic discourse, that is, a sense-making utopian historical teleology. 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. 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? In a way, Station Eleven is an interesting Rorschach test of apocalyptcisms appeal. The series creator explains why. McNamara: As a nonmillennial Im not going to dive into those murky generation-defined existential waters, debate the historical nature of progress or try to predict the fate of democracy, though I think we can agree any television show that sparks debate about those things is a damn good television show. How does this style of storytelling affect the emotional impact of the narrative? ow deeply strange it is, how deeply unsettling, to be able to compare and contrast a fictional pandemic with the real thing. Indeed, the passages beautiful writing and imagery sublimates and glosses over a production process that relies on the exploitation of cheap labour from the global South, something Mandel merely hints at through the mention of workers somewhere in China and the cadences of a half dozen languages. 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. New York Times, 5 September. Station Eleven is a slow burn. As I am Irish, and firmly believe in Thomas Cahills premise that Irish monks saved civilization by maintaining texts and libraries while Europe fell into the Dark Ages, I was all in. As Elizabeth Deeds Ermarth (1992) emphasises, if modernity is about the belief in the epistemic neutrality and objectivity of our representations, postmodernity is ultimately about foregrounding the constructedness of our representations and of neutrality itself. The Road is a recurrent point of comparison for Station Eleven in academic analyses and reviews alike (Tate, 2017: 13233; Alter, 2014; Huntley, 2014). De Cristofaro, D 2013 The Representational Impasse of Post-Apocalyptic Fiction: The Pesthouse by Jim Crace. "Virginia Lottery tickets are available for purchase here!" Theres nothing you cant survive, because theres nothing that you will not do (Mandel, 2014: 139). 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. 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. But then why did the One Ring choose Frodo? Clark speaks to himself in bed next to Miles. Los Angeles, Whats on Khlo Kardashians face? Station Eleven repeatedly emphasises that there is no deterministic pattern to time, contrary to what apocalyptic logic affirms. But Station Elevens apocalypse does not bring any sense-making order. Her previous novels were Last Night in Montreal, The Singers Gun, and The Lola Quartet. Despite the tidy conclusion, I can only hope creator Patrick Somerville and HBO Max are in negotiations for a second season. 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). 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. ), entropy reigns. Toronto: Anansi. Therefore, the plot of pestilence is not so much a fiction of an end as a fiction of an end indefinitely postponed. 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). Is a Disarmingly Hopeful Post-Apocalyptic Tale. If there are again towns with streetlights, if there are symphonies and newspapers, then what else might this awakening world contain? Available at: https://www.clarkeaward.com/2015-winner/ [Last accessed 24 October 2018]. But I also know that if any survivor owned a snowplow, he or she would use it because snowplowing is a calling and an art form in itself. It wasnt like that. Are you supposed to be? Modern metanarratives are apocalyptic, in that they are totalising explanations of history based on utopian teleology. So that line became almost the thesis statement of the entire novel. This staunch rebuttal of apocalyptic determinism through the emphasis on the role that chance plays during the pandemic is echoed when Clark describes the period of contagion as a choreography of luck, the hours of near misses, of coincidence[s] (Mandel, 2014: 223, 224). One of the things that drove me away from The Walking Dead was the core characters lack of expertise and inability to problem-solve. Manchester: Manchester University Press. [18] At first, Station Eleven is bewildering, all discombobulating cuts between the present and what seems to be a desolate, sparsely populated future. We begin, really, to care, to wonder, to ask more questions. What I was really interested and writing about was what's the new culture and the new world that begins to emerge? | ISSN: 2056-6700 | The author has no competing interests to declare. 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 Having established its Serious Credentials, it gains confidence and begins to move away from the elegiac tone that threatens to overwhelm it. Cambridge: Cambridge University Press. 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). 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. HBO Maxs beguiling new mini-series is about a pandemic, but dont let that scare you off. 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). Though their plague is much more devastating than ours (it has a 99% fatality rate), it is still quite something to see people coughing in enclosed spaces while those nearby bristle, and others wonder about masks or gather supplies so they can hunker in apartments until the virus has burned itself out. 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. ), Station Eleven celebrates the beauty of the pre-apocalyptic world and mourns its loss. She has no expectation that anybody else will ever see her work. The bulk of the series is set twenty years after a flu pandemic brought human civilization as we know it to an end. 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). But the recent surge of post-apocalyptic novels brings to the fore this critical tension between the contemporary and the traditional understanding of apocalypse by appropriating apocalyptic tropes to subvert them from within and, more fundamentally, by being essentially concerned with time and history, a concern that is often embodied within their structural narrative features. London: Routledge. Available at: https://www.washingtonpost.com/news/arts-and-entertainment/wp/2014/10/15/sorry-emily-st-john-mandel-resistance-is-futile/ [Last accessed 24 October 2018]. 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. London: Continuum. Get our L.A. ", On what survives including a comic book treasured by several characters. By the same token, Kirsten collect[s] fragments of Arthurs life as told in gossip magazines because they are signifiers of her past, of which she has few and disconnected memories (Mandel, 2014: 40). 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. It could remind us of our civilization. We try to make the world make sense for a minute, she explains to young Kirsten. (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.). 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. 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 Boston: Beacon. This adaptation of the astonishingly prescient 2014 bestseller is deeply unsettling, even in the bits it gets wrong. Just like the parallels between the stories, the conclusion emphasises the individuals agency to shape the future and the openness of actual time, as opposed to the closure of time in traditional plots. London: Bloomsbury. The narrative continuously moves between the pre- and the post-apocalypse without any regular pattern, and, what is more, even in these two distinct periods, the narrative keeps shifting between different times, from the night Arthur dies and the pandemic begins, to various moments in his life and that of people that are connected to him, from the catastrophes immediate aftermath, to fifteen and twenty years after it.12 Just as in Cloud Atlas, Station Elevens structure encourages us to read for connections between pre- and post- apocalyptic fragments, rather than for an end that integrates the various moments. Even in rural Pennsylvania, let alone Asia, you know your world becomes so small so quickly. Berkeley: University of California Press. 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. Princeton: Princeton University Press. 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. You know, it's no longer possible to set out as a pioneer and stake a claim and start a new life. Station Eleven requires audiences to pay attention, offering up a dramatic tapestry of considerable depth. It's that I don't think that period would last forever everywhere on earth. 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). In: Patrides, C A and Wittreich, J (Eds. 21:1), frames the apocalyptic origin of the distinction between the elect and the non-elect at the core of the cults credo when fervently claiming that the survivors names are recorded in the book of life (Mandel, 2014: 286). The primary example of this is Shakespeare, specifically King 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. "No cities," she tells NPR's Scott Simon. DOI: http://doi.org/10.4159/9780674495647. Goods travelled in ships and airplanes across the world. Matt Brennan is a Los Angeles Times deputy editor for entertainment and arts. Station Eleven and The Last of Us share one more very specific similarity: juxtaposing destruction with art. 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 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). Secondly, the interruption of each story defers closure, and even the stories conclusions contain hints to the following narrative. And, potentially, fellow nonmurderous survivors I do n't think that this was entire... 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