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). Station Eleven is a massive collaborative effort, but much of the series warmth is shaped by three key visual choices in its first episode. In part because the partnership of Jeevan and Kirsten was so odd and hypnotic that Goneril dress! At first, Station Eleven is bewildering, all discombobulating cuts between the present and what seems to be a desolate, sparsely populated future. Maybe, though people appear to be living in small, mostly primitive communities and the fact that the story confines itself to the shoreline of Lake Michigan (at least I think its Michigan) serves the narrative both spiritually and logistically. Clark speaks to himself in bed next to Miles. Having established its Traditional apocalyptic narratives reveal a utopian teleology to history, a conception of time that deeply informs western modernity and its metanarratives. Get Screen Gab for everything about the TV shows and streaming movies everyones talking about. One of the prophets followers, who dies revelling in Revelations promise of a new heaven and a new earth (Rev. You know because, mayhem is not a terribly sustainable way of life. Log In; 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. This passage is a clear intertextual reference to McCarthys The Road, whose world is complete with travellers with shell-shocked expressions, children walking covered in blankets, people being killed for their backpacks contents, and a hungry dog. 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. Mackenzie Davis, left, leads the sprawling cast of HBO Maxs (post-)apocalyptic series Station Eleven.. We were saved because we are the light. Twentieth Century Literature, 46(4): 40533. 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. Station Eleven replicates what Gomel (2000: 408) identifies as the plague pattern, where there is no place for millenarian rebirth. 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. 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. Huntley, K 2014 Station Eleven: Booklist Review, August. Atwood, M 2004 Writing Oryx and Crake. WebThe book Station Eleven, by Emily Mandel, started when a famous actor dies on stage while performing the play King Lear. People die alone, with their loved ones unable to be with them, and people grieve alone. This adaptation of the astonishingly prescient 2014 bestseller is deeply unsettling, even in the bits it gets wrong. The question of class distinctions (resource hoarding) is left mostly to an episodes worth of country-club symbolism and a ruinously miscast David Cross. | ISSN: 2056-6700 | As one of the survivors puts it, Elizabeths [the prophets mother] a fucking lunatic (Mandel, 2014: 253). Open Library of Humanities Station Eleven , the HBO Max show whose finale airs Thursday, is something else entirely. It could remind us of our civilization. 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. A scene depicts Tyler as a child reading Revelation 18 to the victims of the Flu sealed forever in a quarantined plane (Mandel, 2014: 259). Events unfurl like a Cloud Atlas consists of six narratives set between the nineteenth century and a distant post-apocalyptic future. Station Eleven 's premise is terribly current for the post-COVID world. 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). And during the montage of embraces between Jeevan and Kirsten near the end of Dr. Ricoeur, P 1984 Time and Narrative, 1. London: Windmill. Furthermore, teleology entails determinism, which compromises the possibility of choices and ethics. Convenience Store in Sterling, VA. Station Eleven features explicit intertextual references to biblical apocalyptic narratives, from the Flood, in Genesis, to Revelation. Even in rural Pennsylvania, let alone Asia, you know your world becomes so small so quickly. 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). In a way, Station Eleven is an interesting Rorschach test of apocalyptcisms appeal. American Literary History, 23(3): 48399. WebStation Eleven is an American post-apocalyptic dystopian fiction miniseries created by Patrick Somerville based on the 2014 novel of the same name by Emily St. John Mandel.The miniseries premiered on HBO Max on December 16, 2021, and ran for ten episodes until January 13, 2022.. Cameron, C 2014 Station Eleven Offers Suspense and Science Fiction, but It Is Undoubtedly a Literary Work. 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. 2010 Future Ethics: Climate Change and Apocalyptic Imagination. 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). Immediately following the Second World War, there was a fashion show in Paris. As West writes, Station Eleven excuses a mindset in which problematic, even apocalyptic, systemic structures are minimized, rather than critiqued (2018: 20). Derrida, J 1992 Of an Apocalyptic Tone Newly Adopted in Philosophy. 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. We try to make the world make sense for a minute, she explains to young Kirsten. Finally, when the prophet is killed towards the end of the novel, people find in his bag A copy of the New Testament, held together with tape nearly illegible, a thicket of margin notes and exclamation points and underlining (Mandel, 2014: 303), which further confirms the profound influence of biblical apocalypses, and of Revelation in particular, on the prophets worldview. I read, If you want the girl next door, go next door: Lori Petty on Station Eleven and surviving Hollywood, Anuplifting pandemic drama? Both Tyler and Bertis exhibit traits of what Catherine Keller identifies as the apocalypse pattern (1996: 11): the faith in historical determinism, the inclination to think in terms of clear-cut polarities of good versus evil and the identification with the good that purges the evil from the old world and is worthy of the imminent utopian renewal of the new world. It may become antiapocalyptic in its refusal of the transition from the tribulation to the millennium (2000: 410, 412). Albany: State University of New York Press. You know, it's interesting. 1. 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. They were shown maps and globes, the lines of the borders that the Internet had transcended (Mandel, 2014: 262). Why, I kept asking myself, are they still living on the ground? If traditional apocalyptic discourse is about time, contemporary post-apocalyptic discourse is also about time more specifically, it is about critical temporalities, constructions of time that critique a hegemonic temporality. 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. New York: Vintage. A Pulitzer Prize winner in 2015 and finalist for criticism in 2013 and 2014, she has won various awards for criticism and feature writing. Notice the singular civilization of the Museums name: it encapsulates the neoliberal dream of a unified globalised world in which all difference is erased under the global free market. But then why did the One Ring choose Frodo? 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. There are any number of access points for a comparison of these two shows. 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. 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? How deeply strange it is, how deeply unsettling, to be able to compare and contrast a fictional pandemic with the real thing. Get our L.A. The bulk of the series is set twenty years after a flu pandemic brought human civilization as we know it to an end. Tom's Guide's latest streaming news. (Not to worry, I slogged through.). The first few episodes look beautiful but move at a stately pace. 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. Or, more precisely, it is half masterpiece, half not. The generation gap between those born before and after is gestured at but scarcely plumbed. Station Eleven manages to find something different: beauty and meaning, most of it wrapped up in the pandemic's survivors, our main characters, and the way they manage to connect to others and find some joy even in a grim time and place. The full Long Island Rail Road terminal in Grand Central Station opened Monday. 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. 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. And the reason for that is that I feel that most dystopian fiction tends to dwell on that immediate aftermath of horror and mayhem. Minneapolis: University of Minnesota 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? The novel begins with the apocalyptic end, Arthurs death on Night One (Mandel 2014: 180) of the pandemic. 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). As time passes through the night the world starts to crumble. Still, my sense that the series is too Pollyanna-ish for its own good that its conclusions about the uses of art in the world are ultimately unearned stems from the fact that these sections are often dramatically inert to begin with. There is no emotion and it is not greatly Station Elevens structure similarly articulates a critical temporality that complicates the sense of an ending. Station Eleven. 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. 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). He previously served as TV editor at Paste Magazine, and his writing has also appeared in Indiewire, Slate, Deadspin and numerous other publications. 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. Mandel self-reflexively plays with the determinism of the sense of an ending by deploying apocalyptic foreshadowing as a narrative device that connects the various sections. By opening with the apocalyptic end that is foreshadowed by these sentences, Station Eleven highlights not only how the temporal order of the sense of an ending can be imposed on the randomness of time solely retrospectively, but also how this order ultimately implies a future that is already written. 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." What if it's also a self-published comic book? Globe and Mail, 12 September. ), Moving Targets. 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. Minneapolis: University of Minnesota Press. Now, as HBO Maxs tale of a pre-, post- and post-post-apocalyptic society much like our own concludes, senior editor Matt Brennan and columnist and culture critic Mary McNamara have it out about whether the series was truly great or something less. Coupland, D (2010) 2011 Player One. Just like Tyler, Bertis sees himself as the prophet of the new world to come, which is, however, not for everyone. 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. 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.). But book awards and paperback releases are a thing of the past in the world Mandel has created. 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). As Rachel explains, the sniper is deploying poetic devices, such as rhythm and regularity of speech, in order to have a stronger impact and to quickly and effectively indoctrinate (Coupland, [2010] 2011: 1878). Available at: https://www.reddit.com/r/books/comments/38e15y/hi_im_emily_st_john_mandel_author_of_station/ [Last accessed 24 October 2018]. You are right about how the timeframe jumps from immediate crisis to a relatively established recovery. In: Derrida and Negative Theology, Coward, H and Foshay, T (Eds.). 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. For me, its what Ive taken to calling the series present the The first concerns the early days and years of the pandemic. Station Eleven is so good, you can buy it outright on Amazon, which sells it for between $28 (DVD) (opens in new tab) and $40 (4K Blu-ray) (opens in new tab). 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. Theres nothing you cant survive, because theres nothing that you will not do (Mandel, 2014: 139). 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. Someone suggested to me that it has to do with economic inequality. So that line became almost the thesis statement of the entire novel. It's not that I don't think that there would be a period of absolute mayhem and chaos and horror. "don't have any 7-eleven stores where I live so when I seen that there 7-eleven's my one" Convenience Store in 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 utopian narrative about the pre-apocalyptic past obscures the material labour that props up the hyper-connected globalised world and the inequalities between the global North and South that lie beneath its seemingly seamless unity. 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? I definitely had some questions in the end the Prophets use of children as suicide bombers was never really addressed but I was frankly astonished that Somerville was able to keep so many balls themes, characters, flashbacks, contexts, relationships in the air, never mind land them with such optimism and grace. The sense of an ending and the deterministic foreshadowing it allows should pertain to the closure of time in traditional plots, not to the openness of time as lived, where the future is unwritten. [18] 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). Yet, she explains, it was important to me to not write that book [The Road]. And escape, I am tempted to tell you that whatever imperfections you felt you experienced in Station Eleven were deliberate, a kind of cinematic wabi-sabi to remind us that the quest for perfection is not only impossible it is the wrong quest. Tom's Guide's latest streaming news. I dont [sic] think so. 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). WebStation Eleven contains many explicit references to other works of art, and relies on them heavily for source material. Since its debut last month, Station Eleven has drawn both acclaim (from critics including our own Robert Lloyd) and criticism (from fans of the novel on which its based, which it changes in key ways). 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. The things Jeevan sees vividly recall The Road. Confronted with Bertis preaching, the other characters of Couplands novel notice that the way Bertis talks is weird (Coupland, [2010] 2011: 187). Yet, significantly, [T]he road seemed dangerous. As the season unfurled, though, I found myself frustrated by a structure that, roughly speaking, toggled between the pandemics onset and a time, 20 years on, in which Kirsten and her Traveling Symphony have forged a new society through the cyclical performance of plays. 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. Published in 2014 to critical and popular success, Emily St. John Mandels Station Eleven is part of a widely-discussed, growing corpus of post-apocalyptic novels written by authors who do not typically write science fiction.1 In what Andrew Hoberek (2011) identifies as the genre turn of contemporary fiction, the post-apocalyptic genre has moved from the margins (tacky science-fiction) into the mainstream (legitimate, widely-recognized and practiced speculative fiction) (Buell 2013: 9), so much so that Frederick Buell frames it as a cultural dominant.2 As Andrew Tate puts it, contemporary narrative is haunted by dreams of a future that is a place of ruin (2017: 2). 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). Something that came up for me as I was writing this book was how incredibly local your world would become. Nor did I want the kind of Theres Got to Be a Morning After survival celebration disaster stories so often rely on. Despite the tidy conclusion, I can only hope creator Patrick Somerville and HBO Max are in negotiations for a second season. Available at: https://tetheredbyletters.com/when-the-dust-settles-an-interview-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. 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. 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. WebFairfax County Fire And Rescue Department Station 31 - Fox Mill 2610 Reston Parkway Herndon, VA. 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