station eleven criticism
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. On what she'd want to save in an apocalypse. Leggatt, M 2018 Another World Just out of Sight: Remembering or Imagining Utopia in Emily St. John Mandels Station Eleven. Buell, F 2013 Post-Apocalypse: A New U.S. The final minutes of the Station Eleven finale reunite Kirsten (Mackenzie Davis) and Jeevan (Himesh Patel) after 19 years apart. McCarthy, C [2006] 2007 The Road. 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. Zombies show no talent for climbing; is there no engineer or architect among them who could construct an elevated village? But you know, here I am in Philadelphia this afternoon. 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. Station Eleven is going to struggle to find an audience this winter. [18] 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. Yes, there were dangers there, but no doubt there was also a lot of food and, potentially, fellow nonmurderous survivors. De Cristofaro, D., For me, its what Ive taken to calling the series present the Washington Post, 15 October. Mitchell, D 2004 Cloud Atlas. Convenience Store in Sterling, VA. (2018) Critical Temporalities: Station Eleven and the Contemporary Post-Apocalyptic Novel, If you can stick with it, you will be rewarded. I remember describing the premise of the novel to my husband, and he said, "People would want what was best about the world. 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. Station Eleven 's premise is terribly current for the post-COVID world. : Shakespeare, Salvagepunk and Station Eleven. As time passes through the night the world starts to crumble. We always seem to think the world's ending. However, as The Ringer's Alison Herman wrote, the show leverages our own experience of the pandemic to Watching it from the perspective of our own existential crisis a devastating pandemic and a climate apocalypse, each worsened by the twilight of democracy I was struck by the notion that only those who come of age in a time of optimism can draw the conclusion that progress is our natural state; for others (hello, fellow millennials! 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). 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). Jeevan avoided it, stayed mostly in the woods. If there are again towns with streetlights, if there are symphonies and newspapers, then what else might this awakening world contain? 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. Someone suggested to me that it has to do with economic inequality. WebFull Review | Jan 12, 2022. Abrams, M H 1984 Apocalypse: Theme and Variations. Chute, H L 2016 Disaster Drawn: Visual Witness, Comics, and Documentary Form. 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. Station Eleven. Perhaps it's wishful thinking on my part, but I did like the idea that a Shakespearean company might be able to make it. 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). Time, Paul Ricoeur contends, becomes human time to the extent that it is organized after the manner of a narrative (1984: 3). Confronted with Bertis preaching, the other characters of Couplands novel notice that the way Bertis talks is weird (Coupland, [2010] 2011: 187). Clark speaks to himself in bed next to Miles. I even caught myself asking a blasphemous question: If art were truly capable of saving us, wouldnt we already have been saved? 2nd ed. Mackenzie Davis, left, with Caitlin FitzGerald in Station Eleven., Do Not Sell or Share My Personal Information, Meet the cinematographer whose controlled naturalism is changing the face of TV, Station Eleven made major changes from the book. The full Long Island Rail Road terminal in Grand Central Station opened Monday. 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? 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. Mary McNamara: Given the spiritual undertones of the series, and the repetition of the sentence I remember damage. 37. (Not to worry, I slogged through.). Snow and stopped cars with terrible things in them. It won several major awards, was an NPR Books Concierge pick, and it's just come out in paperback. Station Elevens structure similarly articulates a critical temporality that complicates the sense of an ending. But then why did the One Ring choose Frodo? 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). The novels elegiac tone is encapsulated by the Museum of Civilization, where civilization refers to the bygone hyper-globalised world. "No cities," she tells NPR's Scott Simon. 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). New York Times, 5 September. Her previous novels were Last Night in Montreal, The Singers Gun, and The Lola Quartet. 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. 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. Hoberek, A 2015 The Post-Apocalyptic Present. Derrida, J 1992 Of an Apocalyptic Tone Newly Adopted in Philosophy. Download PDF. 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 bulk of the series is set twenty years after a flu pandemic brought human civilization as we know it to an end. Because in the now, the before is all we have. Emily St. John Mandel. 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. I in fact stole it shamelessly from Star Trek: Voyager. Does Station Eleven depict an unrealistic social regeneration? 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. Available at: http://www.nytimes.com/2014/09/06/books/station-eleven-joins-falls-crop-of-dystopian-novels.html [Last accessed 24 October 2018]. DOI: http://doi.org/10.16995/olh.235. How? DOI: http://doi.org/10.1057/9781137430144, Munslow, A 2006 Deconstructing History. Station Elevens plot itself consists of fragments from before and after the apocalypse, which challenges the teleological linearity of apocalyptic temporality. [L]ife on earth is just a bus stop on the way to greater glory or greater suffering (Coupland, [2010] 2011: 152) and Bertis understands his murders as partaking in a divinely-sanctioned separation between the elect and the non-elect. You know, it's no longer possible to set out as a pioneer and stake a claim and start a new life. This staunch rebuttal of apocalyptic determinism through the emphasis on the role that chance plays during the pandemic is echoed when Clark describes the period of contagion as a choreography of luck, the hours of near misses, of coincidence[s] (Mandel, 2014: 223, 224). WebSee 10 photos and 3 tips from 190 visitors to 7-Eleven. [Children] were told about the Internet, how it was everywhere and connected everything, how it was us. Events unfurl like a DOI: http://doi.org/10.4324/9780203969908. The chaos of historical contingency chaos which is even more evident and dreadful at times of crisis, such as that of the devastating Georgia Flu is tamed through the recourse to apocalyptic determinism, namely, to the belief that everything happens for a reason, as the prophets mother repeats throughout the novel. Or more nuancedly, as Clark, a good friend of Arthurs, comments to Tyler: its not a question of having been bad or the people [who died] were just in the wrong place at the wrong time (Mandel, 2014: 260; ellipsis in original). Charles, R 2014 Sorry, Emily St. John Mandel: Resistance is Futile. 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 spectre of the 2008 economic crisis and ensuing recession does haunt the novel, in which 12 percent of the worlds shipping fleet lay at anchor off the coast of Malaysia, container ships laid dormant by an economic collapse (Mandel, 2014: 28). With the grown Kirsten serving, when necessary, as something like a one-woman militia, Station Eleven is not without its effective, if sometimes tonally jarring, genre thrills. 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. You may occasionally receive promotional content from the Los Angeles Times. ), Station Eleven celebrates the beauty of the pre-apocalyptic world and mourns its loss. Modern metanarratives are apocalyptic, in that they are totalising explanations of history based on utopian teleology. Station Elevens appropriation of biblical apocalyptic serves to foreground the violence inherent in apocalyptic logic.7 As Kirsten, a child actor with Arthur in the pre-apocalypse and a member of the Travelling Symphony in the post-apocalypse, muses, [I]f you are the light, if your enemies are darkness, then theres nothing that you cannot justify. This adaptation of the astonishingly prescient 2014 bestseller is deeply unsettling, even in the bits it gets wrong. Available at: https://www.reddit.com/r/books/comments/38e15y/hi_im_emily_st_john_mandel_author_of_station/ [Last accessed 24 October 2018]. 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). Station Elevens post-apocalyptic beauty is a far cry from The Roads ponderous counterspectacle of things ceasing to be. Backstories are filled in notably of Miranda (Danielle Deadwyler), Arthurs lover and the author of the graphic novel (called Station Eleven, but dont let the meta-ness put you off) that has been Kirstens lifeline over her 20 years of post-apocalyptic wandering. 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. 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 WebRotten Tomatoes reports a 98% approval rating with an average rating of 8.1/10, based on 54 critic reviews. It's not that I don't think that there would be a period of absolute mayhem and chaos and horror. And the reason for that is that I feel that most dystopian fiction tends to dwell on that immediate aftermath of horror and mayhem. Your purchase helps support NPR programming. 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]. 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). 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). 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 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? Both texts expose how apocalyptic discourse is fabricated to push ideological agendas. There are as is starting to feel mandatory with small-screen dramas two timelines. Berger, J 1999 After the End: Representations of Post-Apocalypse. 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). And, looking back to his past towards the end of his life, a retrospection that by definition should allow the sense of an ending to emerge, Clark does not see any meaningful order but only a series of photographs and disconnected short films (Mandel, 2014: 279). ", On what survives including a comic book treasured by several characters. While the novels prophet holds on to a religious understanding of apocalypse in which the end is followed by utopian rebirth, the Georgia Flu, the pandemic that kills 99% of the worlds population, is termed apocalypse by the television newscasters in the sense of dystopian catastrophe rather than utopian revelation, and the apocalyptic narratives referred to in the text are disaster movies, with the dangerous stragglers fighting out for the last few scraps (Mandel, 2014: 243, 256). Public Books, 15 June. Alter, A 2014 The World is Ending, and Readers Couldnt Be Happier: Station Eleven Joins Falls Crop of Dystopian Novels. How does this style of storytelling affect the emotional impact of the narrative? The following contains spoilers from the season finale of Station Eleven.. 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). Available at: https://www.clarkeaward.com/2015-winner/ [Last accessed 24 October 2018]. It won several major awards, was an NPR Books Concierge pick, and it's just come out in paperback. 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). Los Angeles, Whats on Khlo Kardashians face? 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. How Station Eleven pulled off the impossible, Original reporting and incisive analysis, direct from the Guardian every morning. This critique of teleology is reflected in Station Elevens narrative structure. The Traveling Symphony is a troupe of actors and musicians dedicated to keeping the remnants of art and humanity alive. If I lived in Philadelphia, I would have no idea what was going on. The Georgia Flu, the prophet claims, was our flood. Albany: State University of New York Press. Basingstoke: Palgrave. Furthermore, teleology entails determinism, which compromises the possibility of choices and ethics. Cambridge: The Belknap Press of Harvard University Press. 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. Are you ever surprised? 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. 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. 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). Or, more precisely, it is half masterpiece, half not. Immediately following the Second World War, there was a fashion show in Paris. 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. Open Library of Humanities, 4(1): 7, 126. I hadnt read the book, so I had no idea what I was in for, but I certainly was not prepared for a very young Shakespearean actress trotting around snowy Chicago in her young Goneril costume as the world collapsed. We begin, really, to care, to wonder, to ask more questions. Matt Brennan is a Los Angeles Times deputy editor for entertainment and arts. 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). Just like McCarthys father and son, Jeevan and [A]lmost everyone was moving south in a silent landscape. 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). Heffernan, T 2008 Post-Apocalyptic Culture. Station Eleven. Mandels novel thus exposes apocalyptic temporality as an artificial teleological order that one imposes on contingency, often with oppressive agendas in mind, as is the case of the prophet. Its loss there were dangers there, but no doubt there was also a of! Resistance is Futile we know it to an end narrative structure 2007 the Road the actual Road of the moves. To care, to wonder, to wonder, to care, to care, to ask more questions,! Twenty years after a flu pandemic brought human civilization as we know it to an end the Gun. 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