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? This adaptation of the astonishingly prescient 2014 bestseller is deeply unsettling, even in the bits it gets wrong. Download PDF. But apocalypse, from the Greek apocalyptein, etymologically means to unveil or to reveal, and the revelations of the traditional apocalyptic paradigm are intertwined with time and utopia. Station Elevens ending is key to the texts deconstruction of utopian teleology. Martin Carr We Got This Covered. 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. He likes the thought of ships moving over the water, towards another world just out of sight (Mandel, 2014: 33233; emphasis mine). 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). Frame, 26(1): 929. The first concerns the early days and years of the pandemic. Nothing (McCarthy, [2006] 2007: 216). This pattern comprises panic, dissolution of socioeconomic structures, and despair, succeeded by a makeshift return to normality once the disease has run its course. Huntley, K 2014 Station Eleven: Booklist Review, August. New York Times, 5 September. You know, it's interesting. 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. I very purposely set much of the action 15 and then 20 years after that flu pandemic. 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). Author Emily St. John Mandel was not involved in the adaptation of her hit novel. There was no place on Earth that was too far away to get to. The sweeping waste, hydroptic and coldly secular. London: Sceptre. I was very deliberate in the timing of the narrative: its set mostly fifteen and twenty years after the collapse, not during or in the immediate aftermath (Mandel, 2015: n.pag.). 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. ), The Apocalypse in English Renaissance Thought and Literature: Patterns, Antecedents, and Repercussions, pp. This biblical passage contains a prophecy about the city of Babylon, symbol of the sinful Roman empire, being destroyed by plagues for mighty is the Lord God who judges her (Mandel, 2014: 259) an obvious parallel with the Georgia Flu and with the prophets argument that the pandemic targeted those who were found lacking by god. DOI: http://doi.org/10.1093/alh/ajr019. WebStation Eleven Questions and Answers - Discover the eNotes.com community of teachers, mentors and students just like you that can answer any question you might have on Station Eleven Search this site West, M 2018 Apocalypse Without Revelation? How deeply strange it is, how deeply unsettling, to be able to compare and contrast a fictional pandemic with the real thing. 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). HBO Maxs beguiling new mini-series is about a pandemic, but dont let that scare you off. Because it seems like an improbable outcome, when I look back at the sequence of events (Mandel, 2014: 77, 157). How? However, on the one hand, the novel is far from adhering to the radical utopian renewal of traditional apocalyptic discourse. Washington Post, 15 October. Clark lashes out at Arthur after a bender; the music scores the end of the episode at 00:56. 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. And during the montage of embraces between Jeevan and Kirsten near the end of Dr. 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). Goldman, M 2005 Rewriting Apocalypse in Contemporary Canadian Fiction. Gomel, E 2010 Postmodern Science Fiction and Temporal Imagination. 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. Abrams, M H 1984 Apocalypse: Theme and Variations. As time passes through the night the world starts to crumble. 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. They were shown maps and globes, the lines of the borders that the Internet had transcended (Mandel, 2014: 262). 34268. 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. 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. Matt Brennan is a Los Angeles Times deputy editor for entertainment and arts. Station Eleven is going to struggle to find an audience this winter. 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. 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). 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. (Sorry, it all always comes back to Lord of the Rings.) Because this is an epic quest and those kinds of stories make certain demands. I found it hopeful. Mackenzie Davis, left, leads the sprawling cast of HBO Maxs (post-)apocalyptic series Station Eleven.. London: Routledge. Station Eleven 's premise is terribly current for the post-COVID world. 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. 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. 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. 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. Tom's Guide's latest streaming news. You know, I think I'd want to save a globe. 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? 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). 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 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). Of course you hope in a scenario like this, what would survive would be the Beethoven symphonies, the Shakespeare plays, the things that we think of as the highest and most exalted expressions of our culture. I mean, extra points for level of difficulty, no? 2nd ed. After a discussion of traditional apocalyptic temporality as it informs modernity and a theorisation of the notion of critical temporality, my article turns to Station Eleven, drawing comparisons with other contemporary post-apocalyptic novels to illuminate key features of this body of writings and the critical temporalities they articulate. The Swiss Family Robinson managed, and they were mostly kids! 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. The theory that I found the most interesting was suggested to me by a bookseller in England last year: she thought perhaps our interest in these futuristic narratives had to do with the fact that there are no more frontiers. As children learn in, The critical appropriation of apocalyptic tropes to foreground their complicity with oppressive power dynamics is typical of contemporary post-apocalyptic novels. Station Eleven self-reflexively emphasises this difference between traditional and contemporary apocalyptic imagination. Clark speaks to himself in bed next to Miles. Emily St. John Mandel's new novel, Station Eleven, opens with a vain actor and is there really any other kind? Stepping over corpses (Mandel, 2014: 193) a description that echoes the snowy wasteland of The Road, barren, silent, godless, strewn with cars in which people were burnt alive (McCarthy, [2006] 2007: 4, 273). Her work has appeared in numerous anthologies, including The Best American Mystery 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). It is in the context of what Heather J. Hicks, in her study of the twenty-first-century post-apocalyptic novel, discusses as an unprecedented outpouring of fully developed post-apocalyptic narratives by major, critically acclaimed anglophone [sic] writers (2016: 56) that my article situates Station Eleven. 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. DOI: http://doi.org/10.4324/9780203969908. It wasnt like that. To take refuge in the art, dammit. But book awards and 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. 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. London: Windmill. 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). 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. 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. 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. It's that I don't think that period would last forever everywhere on earth. At first, Station Eleven is bewildering, all discombobulating cuts between the present and what seems to be a desolate, sparsely populated future. "No countries, no internet, no more Facebook, no more email. 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. Writing with Intent 19822004, pp. As Mandel muses, Its almost as if The Road gave more literary writers permission to approach the subject [of the post-apocalypse] (Alter, 2014: n.pag.). Indeed, as opposed to analyses of the contemporary apocalyptic imagination that interrogate its relationship with the current socio-historical conjunctures traumas and risks, especially environmental risks (Berger, 1999; Mousoutzanis, 2014; Skrimshire, 2010), I contend that to understand the contemporary post-apocalyptic novel we need to consider the very core of the apocalyptic imagination: time. 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). Consider the white gloves on the hands of the woman who inserted the snow globes into boxes, to be packed into larger boxes, crates, shipping containers. The novels elegiac tone is encapsulated by the Museum of Civilization, where civilization refers to the bygone hyper-globalised world. What I was really interested and writing about was what's the new culture and the new world that begins to emerge? Quinby, L 1994 Anti-Apocalypse: Exercises in Genealogical Criticism. Kermode, F [1966] 2000 The Sense of an Ending: Studies in the Theory of Fiction. 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? Drawn from Emily St. John Mandels novel, the seriess speculative future edges up, in its most ill-conceived moments, to a kind of Walking Dead-meets-Terrence Malick self-indulgence, and it rarely convinced me, or held me by the throat, the way its speculative present did; I even weighed whether to skip the episodes set along the Wheel, the Great Lakes circle the Symphony traced. Cameron, C 2014 Station Eleven Offers Suspense and Science Fiction, but It Is Undoubtedly a Literary Work. These gaps keep spaces of possibility open in the novels structure, indicating Mitchells intention to debunk apocalyptic determinism and narrative foreshadowing. Traditional apocalyptic narratives reveal a utopian teleology to history, a conception of time that deeply informs western modernity and its metanarratives. 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). 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. As I have argued, the critical temporalities of the contemporary post-apocalyptic novel debunk the apocalyptic conception of history at the core of western modernity as a narrative construct. 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. Confronted with Bertis preaching, the other characters of Couplands novel notice that the way Bertis talks is weird (Coupland, [2010] 2011: 187). Now the television adaptation by Patrick Somerville (known for Maniac and The Leftovers) for HBO, streaming in the UK on Starzplay, is here and resonating. 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. 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. Cultural Dominant. 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. Available at: https://tetheredbyletters.com/when-the-dust-settles-an-interview-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. Plymouth: Lexington. Mandel, E S J 2014 Station Eleven. I read, If you want the girl next door, go next door: Lori Petty on Station Eleven and surviving Hollywood, Anuplifting pandemic drama? The road was all travellers walking with shell-shocked expressions, children wearing blankets over their coats, people getting killed for the contents of their backpacks, hungry dogs (Mandel, 2014: 1934). Charles, R 2014 Sorry, Emily St. John Mandel: Resistance is Futile. But it wasnt part of his plan. Station Eleven and The Last of Us share one more very specific similarity: juxtaposing destruction with art. 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. This [the cults community at St. Deborah by the Water] is a place of order. As for the issue of whether or not art has saved us, there is no way of knowing, though it certainly has functioned, at the very least, like the COVID-19 vaccinations incapable of eradicating evil but allowing more people to survive it. 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). As he claims, when we speak of the light, we speak of order. 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. But I fear the social future Station Eleven imagines is implausible, if not disingenuous. Available at: http://www.theglobeandmail.com/arts/books-and-media/book-reviews/station-eleven-offers-suspense-and-science-fiction-but-it-is-undoubtedly-a-literary-work/article20577909/ [Last accessed 24 October 2018]. The Museum soon becomes a sanctuary where people go to pray, for Station Elevens post-apocalyptic characters clin[g] to the hope that the world they remembered could be restored (Mandel, 2014: 213), just like the people of the Undersea in the comic Station Eleven, penned by Miranda, the title of which signals its status as a mise-en-abyme text.9 Thus, children at school are taught about the way things were, although these are just abstractions and essentially science fiction to them (Mandel, 2014: 269, 262, 270). Station Eleven replicates what Gomel (2000: 408) identifies as the plague pattern, where there is no place for millenarian rebirth. 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). One of the prophets followers, who dies revelling in Revelations promise of a new heaven and a new earth (Rev. 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. 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. Station Eleven features explicit intertextual references to biblical apocalyptic narratives, from the Flood, in Genesis, to Revelation. 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. 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. Deconstruction of utopian teleology of order himself in bed next to Miles world that begins to emerge strange. 24 October 2018 ] Resistance is Futile Eleven self-reflexively emphasises this difference between traditional and Contemporary apocalyptic.... The end of the borders that the Internet had transcended ( Mandel,:. ; the music scores the end of the Rings. plague pattern, where refers! 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