It could remind us of our civilization. But book awards and These fictions also target the nexus between narrativity and apocalyptic logic captured by Kermode through the notion of the sense of an ending. This reaction, of course, is a reflection of our own present, in which art seems to swim ceaselessly against the tide. 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. 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. Addressing this nexus, and through it the power dynamics and determinism embedded in teleology, the narrative structures of the contemporary post-apocalyptic novel articulate critical temporalities that invite us to conceive of narrative, and therefore of history, beyond the sense of an ending. You know, it's interesting. Author Emily St. John Mandel was not involved in the adaptation of her hit novel. Station Eleven and The Last of Us share one more very specific similarity: juxtaposing destruction with art. The second timeline takes us 20 years in the future, when Kirsten (now played by Mackenzie Davis) is part of a troupe of actors known as the Traveling Symphony, who tour the midwest putting on Shakespeare plays Hamlet, when we meet them to the scattered plague survivors. After all, this end the death of Arthur, who ties together the various characters, and the apocalypse, which is the catalyst of the story has already been given at the beginning of the narrative. DOI: http://doi.org/10.16995/olh.256. It won several major awards, was an NPR Books Concierge pick, and it's just come out in paperback. 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. doi: https://doi.org/10.16995/olh.206, Download XML 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. She has no expectation that anybody else will ever see her work. 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. 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). 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. Basingstoke: Palgrave. In this altered world, there is a traveling Shakespearean theater company and symphony orchestra touring the small and fairly isolated communities in the Midwest.". Does Station Eleven depict an unrealistic social regeneration? 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). It wasnt like that. But then why did the One Ring choose Frodo? Yet Tylers apocalyptic narrative indicates not only the complicity of apocalyptic logic with violence and power structures but also how the appeal of this kind of narrative depends on its promise of a sense-making temporal order. Matt Brennan is a Los Angeles Times deputy editor for entertainment and arts. Perfect for acing essays, tests, and quizzes, as well as for writing lesson plans. This [the cults community at St. Deborah by the Water] is a place of order. This adaptation of the astonishingly prescient 2014 bestseller is deeply unsettling, even in the bits it gets wrong. McCarthy, C [2006] 2007 The Road. Nothing (McCarthy, [2006] 2007: 216). 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). Goes Out newsletter, with the week's best events, to help you explore and experience our city. 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. "Virginia Lottery tickets are available for purchase here!" 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). 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. Among the 1% left Himesh Patel and Matilda Lawler in Station Eleven. Station Eleven replicates what Gomel (2000: 408) identifies as the plague pattern, where there is no place for millenarian rebirth. The apocalyptic distinction between the elect and the non-elect fuels the ruthless actions of the prophet and his followers from killing to raping and enslaving which they commit [A]ll the time smiling, so peaceful, like theyve done nothing wrong (Mandel, 2014: 273), because they see themselves as the only rightful interpreters and agents of the apocalyptic goal of history, the utopian renewal of the new world. 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. Log In; Available at: http://www.publicbooks.org/the-post-apocalyptic-present/ [Last accessed 24 October 2018]. The Flash-forward Glimpses I remember watching that episode and I remember being absolutely struck by that line. From Station Eleven to Atlanta, GLOW and more, Christian Sprenger has shot some of TVs most beautiful images. Matt Brennan: With its emotional finale, Unbroken Circle, Station Eleven ties off the loose ends in its sprawling narrative: Tyler (Daniel Zovatto), a.k.a. 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. Art and literature can, the series argues, offer some safety rails, some moments of connection. There is nothing in the history of human endeavor, not the Bible, Shakespeare or the annals of HBO, to suggest that we are capable of the regeneration it depicts in the span of one lifetime, much less 20 years. 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. 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. If there are again towns with streetlights, if there are symphonies and newspapers, then what else might this awakening world contain? Having established its 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]. HBO Maxs beguiling new mini-series is about a pandemic, but dont let that scare you off. This critique of teleology is reflected in Station Eleven s narrative structure. Time, Paul Ricoeur contends, becomes human time to the extent that it is organized after the manner of a narrative ( 1984: 3 ). If nothing else, its pleasant to consider the possibility. 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. The first few episodes look beautiful but move at a stately pace. 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). We always seem to think the world's ending. Critique: Studies in Contemporary Fiction, 59(2): 24357. 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. Frankly I was grateful to skip all the store-looting and scavenging we are inevitably treated to in these kinds of tales. In the very early days, for example, Jeevan and Kirsten go round a supermarket that is full of produce but empty of people. 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. Available at: https://www.washingtonpost.com/news/arts-and-entertainment/wp/2014/10/15/sorry-emily-st-john-mandel-resistance-is-futile/ [Last accessed 24 October 2018]. Jeevan avoided it, stayed mostly in the woods. 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. 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. 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. The following contains spoilers from the season finale of Station Eleven.. Emily St. John Mandels fourth novel Station Eleven recently made the National Book Awards shortlist for fiction. This ambitious story tackles a post-apocalyptic world in which a super flu has wiped out the majority of the population. 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). Station Eleven. 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). Atwood, M 2004 Writing Oryx and Crake. 34268. In order to have a good story, there needs to be emotion or entertainment. Post-apocalyptic ravaged aftermaths implicitly subvert the central element of apocalyptic discourse, that is, a sense-making utopian historical teleology. There are as is starting to feel mandatory with small-screen dramas two timelines. 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. An uplifting pandemic drama? Just like Bertis, Tyler uses contrived rhythms and repetition in his speeches, so much so that Kirsten notes a suggestion of a trapdoor waiting under every word [of his] (Mandel, 2014: 59). Get Screen Gab for everything about the TV shows and streaming movies everyones talking about. I in fact stole it shamelessly from Star Trek: Voyager. 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. In the new HBO Max series Station Eleven, Davis plays the lead as a tough but vulnerable survivor of a pandemic. In this section, I compare Station Elevens narrative structure with that of Mitchells Cloud Atlas.10 Both texts complicate the teleological linearity of apocalyptic narratives to make space for unwritten futures which are key to agency. : Shakespeare, Salvagepunk and Station Eleven. Clark speaks to himself in bed next to Miles. | ISSN: 2056-6700 | Station Eleven replicates what Gomel identifies as the plague pattern, where there is no place for millenarian rebirth. There are any number of access points for a comparison of these two shows. DOI: http://doi.org/10.4159/9780674495647. Clark lashes out at Arthur after a bender; the music scores the end of the episode at 00:56. I confess I came to Station Eleven reluctantly. 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. Tom's Guide's latest streaming news. 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. Time, Paul Ricoeur contends, becomes human time to the extent that it is organized after the manner of a narrative (1984: 3). Bernstein, M A 1994 Foregone Conclusions: Against Apocalyptic History. Because in stretches the first comes achingly close to being a masterpiece. Published by (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.). And, as a sniper, he believes he is clearing the way for gods new utopian order, for [T]he people [he] shot bothered God. 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. She had ample experience to draw from. 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. The series creator explains why. Frame, 26(1): 929. However, on the one hand, the novel is far from adhering to the radical utopian renewal of traditional apocalyptic discourse. Miranda curtly rebukes Elizabeths apocalyptic belief that everything happens because it was supposed to happen by saying Id prefer not to think that Im following a script (Mandel, 2014: 106). 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. Derrida, J 1992 Of an Apocalyptic Tone Newly Adopted in Philosophy. To take refuge in the art, dammit. Its one of the most profound meditations on love, loss, grief, and community Ive ever seen. I found it hopeful. Herein lies its critical distance from the utopian teleology of the traditional apocalyptic paradigm. At first, Station Eleven is bewildering, all discombobulating cuts between the present and what seems to be a desolate, sparsely populated future. But you know, here I am in Philadelphia this afternoon. Notice, in this sense, Clarks musings on the snow globe housed in the Museum. DOI: http://doi.org/10.4324/9780203969908. Station Elevens ending is key to the texts deconstruction of utopian teleology. However, as The Ringer's Alison Herman wrote, the show leverages our own experience of the pandemic to 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. Brennan: Look, Im not calling Station Eleven a failure, or a disaster, or even a half-assed genre entry. Available at: https://www.clarkeaward.com/2015-winner/ [Last accessed 24 October 2018]. 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. 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. 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.). Arthur C Clarke Award 2015 2015 Winner. The novels final paragraph consists mostly of questions, while the hypothetical ships move towards another world just out of sight (Mandel, 2014: 333; emphasis mine), that is, towards a future that, contrary to the normative and prescriptive utopian visions of apocalyptic logic, remains undefined. This is, of course, how apocalyptic logic works, with the end ushering in a perfect new world which makes sense of everything that happened before. 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. 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. 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. Kermode, F [1966] 2000 The Sense of an Ending: Studies in the Theory of Fiction. New York: Vintage. 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. WebRotten Tomatoes reports a 98% approval rating with an average rating of 8.1/10, based on 54 critic reviews. 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. 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 Station Elevens apocalypse does not bring any sense-making order. Open Library of Humanities, 4(1): 7, 126. Quinby, L 1994 Anti-Apocalypse: Exercises in Genealogical Criticism. 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