The Swiss Family Robinson managed, and they were mostly kids! Mousoutzanis, A 2014 Fin-de-Sicle Fictions, 1890s1990s: Apocalypse, Technoscience, Empire. To believe that the series is guilty of doubtful creative choices is not to spurn art its to know what its capable of and to expect more of it. I found it hopeful. 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. The Flash-forward Glimpses 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 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. Confronted with Bertis preaching, the other characters of Couplands novel notice that the way Bertis talks is weird (Coupland, [2010] 2011: 187). 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. Washington Post, 15 October. 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). 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 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. 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. Emily St. John Mandel. De Cristofaro, D 2013 The Representational Impasse of Post-Apocalyptic Fiction: The Pesthouse by Jim Crace. Get Screen Gab for everything about the TV shows and streaming movies everyones talking about. 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. What if it's also a self-published comic book? 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. 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. 32830. Last year, as we all scrambled to create some sort of context for the COVID-19 pandemic, Mandel got all sorts of what does it feel to have predicted the future? questions, which seemed very unfair. WebStation Eleven contains many explicit references to other works of art, and relies on them heavily for source material. Goods travelled in ships and airplanes across the world. 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. 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. 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). The light we carry within us is the ark that carried Noah and his people over the face of the terrible waters (Mandel, 2014: 60). Tyler reunites with his mother. Miranda, Arthurs ex-wife, was unprepared for [the fleets] beauty. 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). Immediately following the Second World War, there was a fashion show in Paris. I read Emily St John Mandels bestselling Station Eleven shortly after it came out in 2014, when the tale of a mysterious flu sweeping the globe and laying waste to normal life lay wholly beyond the bounds of reality. As time passes through the night the world starts to crumble. Minneapolis: University of Minnesota Press. DOI: http://doi.org/10.16995/olh.256. She has no expectation that anybody else will ever see her work. Learn exactly what happened in this chapter, scene, or section of Station Eleven and what it means. 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. I mean, extra points for level of difficulty, no? Yet, she explains, it was important to me to not write that book [The Road]. 1. Available at: https://www.booklistonline.com/Station-Eleven-Emily-St-John-Mandel/pid=6862248 [Last accessed 24 October 2018]. The first few episodes look beautiful but move at a stately pace. Aptly described as an elegy for the hyper-globalised present by Andrew M. Butler of the Arthur C. Clarke Award committee (ACCA, 2015: n.pag. 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 primary example of this is Shakespeare, specifically King One of the prophets followers, who dies revelling in Revelations promise of a new heaven and a new earth (Rev. This adaptation of the astonishingly prescient 2014 bestseller is deeply unsettling, even in the bits it gets wrong. Or, more precisely, it is half masterpiece, half not. 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.). 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. Survival is never sufficient. 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). Published by Theres nothing you cant survive, because theres nothing that you will not do (Mandel, 2014: 139). Why, I kept asking myself, are they still living on the ground? 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. Station Eleven has been a best seller. It won several major awards, was an NPR Books Concierge pick, and it's just come out in paperback. Station Eleven, by contrast, is postapocalyptic in the truest sense of the term. 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. Kermode, F [1966] 2000 The Sense of an Ending: Studies in the Theory of Fiction. 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. Critique: Studies in Contemporary Fiction, 59(2): 24357. 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 things Jeevan sees vividly recall The Road. But book awards and Thus, while the traditional apocalyptic narrative makes the conjunction of meaning and ending its theme, both in its expressed understanding of history and in its own narrative procedures (Zamora, 1989: 14), Station Eleven, as discussed, leaves readers with the sense of possibility, an open and unwritten future that challenges the closure and determinism of the sense of an ending and that, like the gaps in the fictional history of Cloud Atlas, allows space for human agency.13. Even the moments of transcendent beauty and joy created by the Travelling Symphonys performances consist in conjuring, through Shakespeare, what was best about the [pre-apocalyptic] world (Mandel, 2014: 47, 38). Yes, an episode that aired in 1999. However, as The Ringer's Alison Herman wrote, the show leverages our own experience of the pandemic to I even caught myself asking a blasphemous question: If art were truly capable of saving us, wouldnt we already have been saved? For the thing with the new world is its just horrifically short on elegance (Mandel, 2014: 151). The first concerns the early days and years of the pandemic. In the new HBO Max series Station Eleven, Davis plays the lead as a tough but vulnerable survivor of a pandemic. 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). In this sense, it is interesting to note that, just like another winner of the Arthur C. Clarke Award for science fiction, Margaret Atwood (, On the essentially temporal nature of traditional apocalyptic logic see also Kermode (, See also the prototype of the Western concept that history has an intelligible and end-determined order, whether fideistic or naturalistic, is the scheme of the course of earthly affairs from genesis to apocalypse which is underwritten by a sacred text (, Indeed, it is my contention that, in its critique of the apocalyptic understanding of history, the contemporary post-apocalyptic novel addresses aspects of Western modernity that transcend national borders, which in any case become irrelevant after the catastrophes depicted by the texts. 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. By Richard Yet, significantly, [T]he road seemed dangerous. Confused? 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). 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. Mandel, E S J 2015 Ask Me Anything. Cameron, C 2014 Station Eleven Offers Suspense and Science Fiction, but It Is Undoubtedly a Literary Work. In a way, Station Eleven is an interesting Rorschach test of apocalyptcisms appeal. In addition to the texts discussed in my article, other examples of this growing body of twenty-first-century writings include: Louise Erdrichs, Despite the genre turn, Hoberek points out a persistent prejudice against genre fiction central to what Mark McGurl has dubbed the program era of post-World War II fiction (2011: 484). Station Elevens ending is key to the texts deconstruction of utopian teleology. 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. But I fear the social future Station Eleven imagines is implausible, if not disingenuous. Station Eleven. Now I am more so, but beyond the practical, the questions posed by the book and the show about how much of a refuge art can provide, what we should work to preserve, what makes a civilisation and what, ultimately, makes life worth living, remain interesting ones. And though I admire HBO Max for releasing a show about a fictional deadly pandemic in the middle of an actual pandemic (after the shows production was shut down for months by same), I was not interested in any kind of survival guide. 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. 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. What I was really interested and writing about was what's the new culture and the new world that begins to emerge? Available at: https://www.clarkeaward.com/2015-winner/ [Last accessed 24 October 2018]. In: Derrida and Negative Theology, Coward, H and Foshay, T (Eds.). 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. 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. 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. WebRotten Tomatoes reports a 98% approval rating with an average rating of 8.1/10, based on 54 critic reviews. 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). ), Station Eleven celebrates the beauty of the pre-apocalyptic world and mourns its loss. 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. Boston: Beacon. There are holes in the story, but that didnt bother me because Station Eleven felt almost immediately like an antidote to every other post-apocalyptic tale I have ever seen. 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. London: Windmill. 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. Yet, just like The Road, Station Eleven articulates a critical temporality that subverts the utopian teleology of apocalyptic logic. In this podcast, PSR Versus podcast hosts Josh Wigler ( @roundhoward) and LaTonya Starks ( @lkstarks) compare episode 7 of The Last of Us and Station Eleven. And during the montage of embraces between Jeevan and Kirsten near the end of Dr. 20 years later it the Traveling Symphony, a group that travels and performs for people, roams the wastelands. He previously served as TV editor at Paste Magazine, and his writing has also appeared in Indiewire, Slate, Deadspin and numerous other publications. Season 1 Review: Station Eleven is brilliant television. Her previous novels were Last Night in Montreal, The Singers Gun, and The Lola Quartet. As he claims, when we speak of the light, we speak of order. Matt Brennan is a Los Angeles Times deputy editor for entertainment and arts. 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. WebA summary of Part 7 in Emily St. John Mandel's Station Eleven. 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. The critical temporalities of the contemporary post-apocalyptic novel not only expose the apocalyptic conception of history as a narrative construct enmeshed within power structures through their critical appropriation of religious apocalyptic tropes and the subversion of utopian teleology, but, through their structures, these fictions challenge what is an essentially apocalyptic model of narrative dominated by the end and invite us to conceive of history beyond the determinism of the sense of an ending. 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. If you can stick with it, you will be rewarded. The following contains spoilers from the season finale of Station Eleven.. 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 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). 34268. 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? Keller, C 1996 Apocalypse Now and Then: A Feminist Guide to the End of the World. Read full review 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.). Princeton: Princeton University Press. 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). Station Eleven has a nonlinear storytelling style: The story doesn't begin at one point and then progress through time to an ending; it often flashes forward or back in time. In a way, Station Eleven is an interesting Rorschach test of apocalyptcisms appeal. You may occasionally receive promotional content from the Los Angeles Times. DOI: http://doi.org/10.4159/9780674495647. Open Library of Humanities 4(2), (Not to worry, I slogged through.). New York Times, 5 September. Berger, J 1999 After the End: Representations of Post-Apocalypse. 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. 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 series creator Patrick Somerville had her blessing to change it. Questioning the passivity of apocalyptic determinism, Adam, the protagonist of the nineteenth-century narrative, reminds us that history admits no rules; only outcomes and encourages us to believe in the possibility of a better world than one culminating in an apocalyptic dystopian future (Mitchell, 2004: 528). But it wasnt part of his plan. (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.). They angered Him (Coupland, [2010] 2011: 134) although, it turns out, he is also motivated by a much more mundane reason: he wants to kill his father, who ran off with his wife. 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." In this altered world, there is a traveling Shakespearean theater company and symphony orchestra touring the small and fairly isolated communities in the Midwest.". 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. 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. There are as is starting to feel mandatory with small-screen dramas two timelines. 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. DOI: http://doi.org/10.4324/9780203969908. In the very early days, for example, Jeevan and Kirsten go round a supermarket that is full of produce but empty of people. 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