And the reason for that is that I feel that most dystopian fiction tends to dwell on that immediate aftermath of horror and mayhem. The Flash-forward Glimpses Minneapolis: University of Minnesota Press. The series creator explains why. 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. 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. This critique of teleology is reflected in Station Elevens narrative structure. Minneapolis: University of Minnesota Press. 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. Berger, J 1999 After the End: Representations of Post-Apocalypse. Kermode, F [1966] 2000 The Sense of an Ending: Studies in the Theory of Fiction. Because it seems like an improbable outcome, when I look back at the sequence of events (Mandel, 2014: 77, 157). How Station Eleven pulled off the impossible, Original reporting and incisive analysis, direct from the Guardian every morning. 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). Previously she was assistant managing editor for arts and entertainment following a 12-year stint as television critic and senior culture editor. Yeah, I was interested in the randomness of what survives and what doesn't. McCarthy, C [2006] 2007 The Road. Open Library of Humanities, 4(1): 7, 126. The dazzling power of electricity floodlights, porch lights, candy-coloured halogens, screens shining, the points of glimmering light that are towns glimpsed from the sky through airplane windows populates Mandels incomplete list of what is lost in the catastrophe (Mandel, 2014: 312). 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). That episode, which straddles the before and the after, was totally crazy and completely glorious; of course some female doctor would create a maternity ward in a place that once sold beds. : Shakespeare, Salvagepunk and Station Eleven. 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). Cultural Dominant. 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. 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. Log In; However, on the one hand, the novel is far from adhering to the radical utopian renewal of traditional apocalyptic discourse. She had ample experience to draw from. 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. Events unfurl like a There was no place on Earth that was too far away to get to. Furthermore, teleology entails determinism, which compromises the possibility of choices and ethics. Open Library of Humanities, 4(2): 8, 123. Globe and Mail, 12 September. I focus on three elements: one, Station Elevens critical appropriation of religious apocalyptic logic, which I discuss in parallel with Douglas Couplands Player One (2010); two, the depiction of the aftermath of the Georgia Flu and Station Elevens critique of utopian teleology, which I discuss in parallel with Cormac McCarthys The Road (2006); and, three, Station Elevens non-linear narrative structure, which I discuss in parallel with David Mitchells Cloud Atlas (2004). One of the things that drove me away from The Walking Dead was the core characters lack of expertise and inability to problem-solve. Mandel, E S J 2015 Ask Me Anything. Goods travelled in ships and airplanes across the world. Heffernan, T 2008 Post-Apocalyptic Culture. London: Windmill. The postmodern subversion of a realistic epistemology leads to the idea that there is no ultimate knowable historical truth, that our knowledge of the past is social and perspectival, and that written history exists within culturally determined power structures (Munslow, 2006: 27). Derrida, J 1992 Of an Apocalyptic Tone Newly Adopted in Philosophy. If nothing else, its pleasant to consider the possibility. 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. Griffith, C 2015 When the Dust Settles: An Interview with Emily St. John Mandel, April. 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. 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). 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. Miranda, Arthurs ex-wife, was unprepared for [the fleets] beauty. This deliberate timing allows Mandel not to dwell on the horror and mayhem brought about by the Georgia Flu, horror and mayhem which are instead at the core of The Roads borrowed world (McCarthy, [2006] 2007: 130). 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." 34268. Modernism, Postmodernism, and the Twentieth-Century Novel. 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. In: Derrida and Negative Theology, Coward, H and Foshay, T (Eds.). It's that I don't think that period would last forever everywhere on earth. Atwood, M 2004 Writing Oryx and Crake. Station Elevens post-apocalyptic beauty is a far cry from The Roads ponderous counterspectacle of things ceasing to be. 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. This pattern comprises panic, dissolution of socioeconomic structures, and despair, succeeded by a makeshift return to normality once the disease has run its course. Notice, in this sense, Clarks musings on the snow globe housed in the Museum. There's something about art I think that can remind us of our humanity. London: Bloomsbury. 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. Nothing (McCarthy, [2006] 2007: 216). As one of the survivors puts it, Elizabeths [the prophets mother] a fucking lunatic (Mandel, 2014: 253). 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. 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. 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. 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. 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 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. These gaps keep spaces of possibility open in the novels structure, indicating Mitchells intention to debunk apocalyptic determinism and narrative foreshadowing. Theres nothing you cant survive, because theres nothing that you will not do (Mandel, 2014: 139). 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. 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. Despite the tidy conclusion, I can only hope creator Patrick Somerville and HBO Max are in negotiations for a second season. 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). I loved Station Eleven because it is the first post-apocalyptic show that revolves around its own holy text, in this case the hypnotic, possibly prophetic, graphic novel Station Eleven. We see its origins as, in flashback, Miranda (with Deadwyler in an equally devastating performance), turns her own experience with trauma and loss into a sort of universal language that connects the past with the future and literally helps save civilization. Convenience Store in Sterling, VA. 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. He likes the thought of ships moving over the water, towards another world just out of sight (Mandel, 2014: 33233; emphasis mine). 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. 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. Altre Modernit, 9: 6680. 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. 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 primary example of this is Shakespeare, specifically King Station Eleven replicates what Gomel identifies as the plague pattern, where there is no place for millenarian rebirth. As she puts it, I assume that there would be a period of utter chaos immediately after an apocalyptic event, but I dont find it credible that that period would last forever (Griffith, 2015: n.pag.). The Station Eleven soundtrack song accompanies a flashback sequence. Is a Disarmingly Hopeful Post-Apocalyptic Tale. Alter, A 2014 The World is Ending, and Readers Couldnt Be Happier: Station Eleven Joins Falls Crop of Dystopian Novels. Station Eleven repeatedly emphasises that there is no deterministic pattern to time, contrary to what apocalyptic logic affirms. The full Long Island Rail Road terminal in Grand Central Station opened Monday. Having established its The mere existence of a character like the Conductor, played with bug-eyed, Emmy-worthy brilliance by Petty, made my heart sing. The author has no competing interests to declare. It's some sort of combination of pessimism or narcissism that it's almost as though we want to believe or living at the climax of the story. The novels elegiac tone is encapsulated by the Museum of Civilization, where civilization refers to the bygone hyper-globalised world. 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). London: Routledge. Thus, the critical temporalities of contemporary post-apocalyptic fictions challenge the hegemonic temporality of modernity: time as a neutral, homogeneous and teleological continuum. Available at: https://tetheredbyletters.com/when-the-dust-settles-an-interview-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. De Cristofaro, D., She has no expectation that anybody else will ever see her work. 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. While Station Eleven does not fall into the traps of the utopian teleology of traditional apocalyptic logic, which risks, in its determinism, legitimising oppressive power dynamics, the novel is too complicit with the current system and its exploitations. Open Library of Humanities 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). 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. "No cities," she tells NPR's Scott Simon. Tom's Guide's latest streaming news. Learn exactly what happened in this chapter, scene, or section of Station Eleven and what it means. In a way, Station Eleven is an interesting Rorschach test of apocalyptcisms appeal. We try to make the world make sense for a minute, she explains to young Kirsten. 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. Washington Post, 15 October. In the new HBO Max series Station Eleven, Davis plays the lead as a tough but vulnerable survivor of a pandemic. 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). Station Eleven has been a best seller. 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. They were shown maps and globes, the lines of the borders that the Internet had transcended (Mandel, 2014: 262). DOI: http://doi.org/10.1080/00111619.2017.1369386. Martin Carr We Got This Covered. 2nd ed. As Mark West points out in another article in this special issue, Clarks reflection addresses but rather miscasts the globalized trade networks in that it fetishizes the beautiful objects at the expense of the workers who make them, workers who are dehumanized into assemblies of working parts (note the emphasis on their hands) (2018: 19, 20). Station Eleven, the HBO Max show whose finale airs Thursday, is something else entirely. 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). Basingstoke: Palgrave. De Cristofaro, D 2013 The Representational Impasse of Post-Apocalyptic Fiction: The Pesthouse by Jim Crace. In: Patrides, C A and Wittreich, J (Eds. 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). Huntley, K 2014 Station Eleven: Booklist Review, August. We were saved because we are the light. Or at least part of it is. Why Netflix is dabbling in livestreaming, Stranger Things play that may hold key to the end taking 1959 Hawkins to West End, NBCs Chicago series have strong showings but CBS wins weekly TV ratings race, Before and after photos from space show storms effect on California reservoirs, Dramatic before and after photos from space show epic snow blanketing SoCal mountains, The chance of a lifetime: Five friends ski the tallest mountain in Los Angeles, Best coffee city in the world? This 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. In the very early days, for example, Jeevan and Kirsten go round a supermarket that is full of produce but empty of people. Bernstein, M A 1994 Foregone Conclusions: Against Apocalyptic History. (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.). 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). Berkeley: University of California Press. 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. Station Eleven. Even in rural Pennsylvania, let alone Asia, you know your world becomes so small so quickly. The Museum, set up by Clark in the Severn City Airport, hosts everyday objects of the pre-apocalyptic society, such as a laptop, an iPhone, a credit card and a snow globe. As time passes through the night the world starts to crumble. WebSee 15 photos and 3 tips from 556 visitors to 7-Eleven. 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. Yet, significantly, [T]he road seemed dangerous. ", On what survives including a comic book treasured by several characters. WebA pandemic show based on a pandemic novel airing two years into a global pandemic, "Station Eleven" may seem fatigue-inducing. Keller, C 1996 Apocalypse Now and Then: A Feminist Guide to the End of the World. Toronto: University of Toronto Press. 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. Station Eleven features explicit intertextual references to biblical apocalyptic narratives, from the Flood, in Genesis, to Revelation. People die alone, with their loved ones unable to be with them, and people grieve alone. Chute, H L 2016 Disaster Drawn: Visual Witness, Comics, and Documentary Form. Critic and senior culture editor tells NPR 's Scott Simon references to biblical apocalyptic narratives, from the Walking was. 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