TV Details As time passes through the night the world starts to crumble. Mousoutzanis, A 2014 Fin-de-Sicle Fictions, 1890s1990s: Apocalypse, Technoscience, Empire. Tom's Guide's latest streaming news. Here in the present, we play we play musical instruments at refugee camps. In: Atwood, M (Eds. The Traveling Symphony is a troupe of actors and musicians dedicated to keeping the remnants of art and humanity alive. Available at: http://www.tor.com/2014/09/12/a-conversation-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. Goldman, M 2005 Rewriting Apocalypse in Contemporary Canadian Fiction. Yet contemporary post-apocalyptic scenarios are predominantly dystopian. 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.). 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 is a slow burn. The Road is a recurrent point of comparison for Station Eleven in academic analyses and reviews alike (Tate, 2017: 13233; Alter, 2014; Huntley, 2014). 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). "No countries, no internet, no more Facebook, no more email. June 24, 2015. For her, the important thing is the work itself, not whether or not it's ever published. Traditional apocalyptic narratives reveal a utopian teleology to history, a conception of time that deeply informs western modernity and its metanarratives. 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. The super flu it depicts may be deadly, but its also swift, running its course in a matter of days. 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). Modernism, Postmodernism, and the Twentieth-Century Novel. 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. 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. London: Continuum. Why, I kept asking myself, are they still living on the ground? 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. The Flash-forward Glimpses Among the 1% left Himesh Patel and Matilda Lawler in Station Eleven. This is the half of Station Eleven that persuades me, the half set in the realm of its Hamlet, its Lear: the half about human connection and isolation, about love, betrayal and, unavoidably, collapse. Manchester: Manchester University Press. Traditional apocalyptic narratives are fictions of historical order (Zamora, 1989: 4) that flourish in times of crisis and, through his apocalyptic narrative, the prophet seeks to restore order in the chaotic post-pandemic world. 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. Bernstein, M A 1994 Foregone Conclusions: Against Apocalyptic History. Snow and stopped cars with terrible things in them. doi: https://doi.org/10.16995/olh.206, Download XML It's that I don't think that period would last forever everywhere on earth. 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. 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. 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. In order to have a good story, there needs to be emotion or entertainment. Station Eleven self-reflexively emphasises this difference between traditional and contemporary apocalyptic imagination. 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. But Station Elevens apocalypse does not bring any sense-making order. I mean, extra points for level of difficulty, no? DOI: http://doi.org/10.4159/9780674495647. 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). Gomel, E 2000 The Plague of Utopias: Pestilence and the Apocalyptic Body. Montral: McGill-Queens University Press. The novels elegiac tone is encapsulated by the Museum of Civilization, where civilization refers to the bygone hyper-globalised world. To take refuge in the art, dammit. London: Picador. WebA pandemic show based on a pandemic novel airing two years into a global pandemic, "Station Eleven" may seem fatigue-inducing. De Cristofaro, D., Different episodes concentrate on the experiences of different characters, but the through line is young Kirsten (an absolutely extraordinary performance from 13-year-old Matilda Lawler in her first substantial role), a child actor who is abandoned by her chaperone when a stage performance of King Lear is chaotically truncated by the death of the lead, Arthur (Gael Garca Bernal). The full Long Island Rail Road terminal in Grand Central Station opened Monday. Drawing attention to the dystopian aspects of traditional apocalyptic discourse, contemporary post-apocalyptic novels suggest that its totalising historical teleology is a narrative construct which serves oppressive ideological agendas, for those who posit an end to history, no matter how utopian this end is, also conceive of themselves as the only rightful interpreters and agents of this telos. Kermode, F [1966] 2000 The Sense of an Ending: Studies in the Theory of Fiction. 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. The apocalypse is such a gap: we do not know what happened, just as in The Road, and this in itself challenges the sense-making function of the end in both apocalyptic history and traditional narratives. 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). Cultural Dominant. This is a sci-fi book, there should be unknowns and mystery, this book lacked in that field greatly. The mere existence of a character like the Conductor, played with bug-eyed, Emmy-worthy brilliance by Petty, made my heart sing. London: Windmill. Confronted with Bertis preaching, the other characters of Couplands novel notice that the way Bertis talks is weird (Coupland, [2010] 2011: 187). 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. Miranda, Arthurs ex-wife, was unprepared for [the fleets] beauty. 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. 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. What I was really interested and writing about was what's the new culture and the new world that begins to emerge? Goods travelled in ships and airplanes across the world. Open Library of Humanities Even when the man contemplates the possibility of ships out there, these are deathships, and the hypothetical father and son on the other side are similarly hopeless, living among the bitter ashes of the world st[anding] in their rags lost to the same indifferent sun (McCarthy, [2006] 2007: 219). 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. Station Eleven replicates what Gomel (2000: 408) identifies as the plague pattern, where there is no place for millenarian rebirth. After all, McCarthys text which depicts a father and sons journey in a post-apocalyptic US where, after an unspecified catastrophe, everything [is] dead to the root (McCarthy, [2006] 2007: 21) is one of the most famous examples of the contemporary body of post-apocalyptic novels as it won the 2007 Pulitzer Prize for Fiction. 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.. 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. 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. Open Library of Humanities, 4(2): 8, 123. 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. DOI: http://doi.org/10.1093/alh/ajr019. 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. 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). It was about how art and culture can help people, and civilization, survive complete catastrophe. In: Patrides, C A and Wittreich, J (Eds. In the new miniseries "Station Eleven," it's two decades after a deadly flu pandemic, and global civilization has nearly collapsed. Events unfurl like a So yeah, there is a comic book that's drawn by a character in the present day. Tate, A 2017 Apocalyptic Fiction. Why Netflix is dabbling in livestreaming, Stranger Things play that may hold key to the end taking 1959 Hawkins to West End, NBCs Chicago series have strong showings but CBS wins weekly TV ratings race, Before and after photos from space show storms effect on California reservoirs, Dramatic before and after photos from space show epic snow blanketing SoCal mountains, The chance of a lifetime: Five friends ski the tallest mountain in Los Angeles, Best coffee city in the world? 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). 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. It may become antiapocalyptic in its refusal of the transition from the tribulation to the millennium (2000: 410, 412). I read, If you want the girl next door, go next door: Lori Petty on Station Eleven and surviving Hollywood, Anuplifting pandemic drama? Even the guy who auditions by reciting Bill Pullmans speech from Independence Day believes. They were shown maps and globes, the lines of the borders that the Internet had transcended (Mandel, 2014: 262). Chute, H L 2016 Disaster Drawn: Visual Witness, Comics, and Documentary Form. You know, it's no longer possible to set out as a pioneer and stake a claim and start a new life. But book awards and but mainly because it quickly became obvious, from the running references to Shakespeare and the (fictional) graphic novel Station Eleven, that this story was not about how to survive a pandemic. 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. DOI: http://doi.org/10.16995/olh.256. Secondly, the interruption of each story defers closure, and even the stories conclusions contain hints to the following narrative. 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? Because in the now, the before is all we have. 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. So I would want a globe, just to remember that there was a world out there. Cambridge: Cambridge University Press. 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. 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. Set in the days of civilization's collapse, Station Eleven tells the story of a Hollywood star, his would-be savior, and a nomadic group of actors roaming the Convenience Store in Sterling, VA. People with chaos in their hearts cannot abide here (Mandel, 2014: 61). 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. Toronto: University of Toronto Press. But soon, within minutes, the death of one man playing Lear disappears into the vast, mass death of a worldwide plague called the Georgia Flu. 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. Yet, significantly, [T]he road seemed dangerous. You know because, mayhem is not a terribly sustainable way of life. In the very early days, for example, Jeevan and Kirsten go round a supermarket that is full of produce but empty of people. 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. An uplifting pandemic drama? Immediately following the Second World War, there was a fashion show in Paris. 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. West, M 2018 Apocalypse Without Revelation? Yes, there were dangers there, but no doubt there was also a lot of food and, potentially, fellow nonmurderous survivors. 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. However, on the one hand, the novel is far from adhering to the radical utopian renewal of traditional apocalyptic discourse. Abrams, M H 1984 Apocalypse: Theme and Variations. Tyler reunites with his mother. Tom's Guide's latest streaming news. The beauty of it (Mandel, 2014: 247, 135). It received critical acclaim and was nominated for seven Primetime HBO Maxs beguiling new mini-series is about a pandemic, but dont let that scare you off. 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. Twentieth Century Literature, 46(4): 40533. Martin Carr We Got This Covered. Clark speaks to himself in bed next to Miles. Keller, C 1996 Apocalypse Now and Then: A Feminist Guide to the End of the World. WebFull Review | Jan 12, 2022. 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. 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