station eleven criticism
It may become antiapocalyptic in its refusal of the transition from the tribulation to the millennium (2000: 410, 412). If I lived in Philadelphia, I would have no idea what was going on. Similarly to Player One, which features sections foreshadowing what happens in the next hour of the story narrated by the post-human Player One (the implication being that, when it comes to history, the apocalyptic perspective from after the end of time is manifestly impossible in human terms), sentences like The Georgia Flu would arrive in a year, Civilization wont collapse for another fourteen years, A year before the Georgia Flu, Two weeks till the apocalypse, just before the old world ended, the Georgia Flu so close now (Mandel, 2014: 40, 71, 110, 201, 217, 328) punctuate Mandels narrative. 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). London: Continuum. Martin Carr We Got This Covered. 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). 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). 37. He likes the thought of ships moving over the water, towards another world just out of sight (Mandel, 2014: 33233; emphasis mine). Mandel, E S J 2015 Ask Me Anything. Tyler reunites with his mother. Snow and stopped cars with terrible things in them. Mandel self-reflexively plays with the determinism of the sense of an ending by deploying apocalyptic foreshadowing as a narrative device that connects the various sections. 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. Albeit more attentive to the materiality of labour, his tracing of the production process of this object conceals, and indeed, aestheticises, workers exploitation and alienation, as well as the inequalities of the global free market: Consider the mind that invented those miniature storms of snow, the factory worker who turned sheets of plastic into white flakes of snow, the hand that drew the plan for the miniature Severn City with its church steeple and city hall, the assembly-line worker who watched the globe glide past on a conveyer belt somewhere in China. 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). Twentieth Century Literature, 46(4): 40533. But you know, here I am in Philadelphia this afternoon. Immediately following the Second World War, there was a fashion show in Paris. Thus, the critical temporalities of contemporary post-apocalyptic fictions challenge the hegemonic temporality of modernity: time as a neutral, homogeneous and teleological continuum. Even in rural Pennsylvania, let alone Asia, you know your world becomes so small so quickly. They discuss both shows and recap the events of Station Eleven, then halfway into the podcast, set the two shows against each other in a head-to-head battle. The sweeping waste, hydroptic and coldly secular. In a way, Station Eleven is an interesting Rorschach test of apocalyptcisms appeal. 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. 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. Plymouth: Lexington. Confused? Manchester: Manchester University Press. 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). Both texts expose how apocalyptic discourse is fabricated to push ideological agendas. The goal of traditional apocalyptic logic is to order time and make it intelligible, by disclosing that the whole course of human history is tending towards a final resolution which will make sense of everything that happened before. To take refuge in the art, dammit. London: Routledge. 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). Station Eleven, by contrast, is postapocalyptic in the truest sense of the term. Notice, in this sense, Clarks musings on the snow globe housed in the Museum. 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. 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. But book awards and paperback releases are a thing of the past in the world Mandel has created. Yes, an episode that aired in 1999. If there are again towns with streetlights, if there are symphonies and newspapers, then what else might this awakening world contain? Station Eleven has been a best seller. 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. 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? The Flash-forward Glimpses 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. At first, Station Eleven is bewildering, all discombobulating cuts between the present and what seems to be a desolate, sparsely populated future. 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). 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). For the thing with the new world is its just horrifically short on elegance (Mandel, 2014: 151). Frankly I was grateful to skip all the store-looting and scavenging we are inevitably treated to in these kinds of tales. 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. Even the guy who auditions by reciting Bill Pullmans speech from Independence Day believes. WebFull Review | Jan 12, 2022. DOI: http://doi.org/10.2307/827840. Cameron, C 2014 Station Eleven Offers Suspense and Science Fiction, but It Is Undoubtedly a Literary Work. Cambridge: The Belknap Press of Harvard University Press. Station Eleven. Twenty years after the pandemic, when Station Elevens post-apocalyptic narrative strand is mostly set, society has stabilised into an archipelago of small towns, and although almost everything, almost everyone [is lost,] there is still such beauty (Mandel, 2014: 48, 57). [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. His co-stars can't remember if he had a family to notify. 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). (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.). Cambridge: Cambridge University Press. 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. Station Eleven requires audiences to pay attention, offering up a dramatic tapestry of considerable depth. The Road is a recurrent point of comparison for Station Eleven in academic analyses and reviews alike (Tate, 2017: 13233; Alter, 2014; Huntley, 2014). 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. Post-apocalyptic ravaged aftermaths implicitly subvert the central element of apocalyptic discourse, that is, a sense-making utopian historical teleology. New York Times, 5 September. 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. 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. 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. You know, it's interesting. 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. Tate, A 2017 Apocalyptic Fiction. 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). Heffernan, T 2008 Post-Apocalyptic Culture. WebSee 15 photos and 3 tips from 556 visitors to 7-Eleven. 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. Does Station Eleven depict an unrealistic social regeneration? Emily St. John Mandel's new novel, Station Eleven, opens with a vain actor and is there really any other kind? WebThe most problematic texts involve passages that are not directly from the Koran but rather contain the Saudi government’s particular interpretation of Koranic and other One of the prophets followers, who dies revelling in Revelations promise of a new heaven and a new earth (Rev. Station Eleven repeatedly emphasises that there is no deterministic pattern to time, contrary to what apocalyptic logic affirms. 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. Cultural Dominant. 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. 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. 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. Available at: https://www.clarkeaward.com/2015-winner/ [Last accessed 24 October 2018]. 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. Or at least part of it is. 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. 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. Born in the Boston area, educated at USC and an adoptive New Orleanian for nearly 10 years, he returned to Los Angeles in 2019 as the newsrooms television editor. Station Eleven and The Last of Us share one more very specific similarity: juxtaposing destruction with art. 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). In Player One, Bertis justifies his murders through a similar self-righteous moral dualism and teleology. 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. Herein lies its critical distance from the utopian teleology of the traditional apocalyptic paradigm. I definitely had some questions in the end the Prophets use of children as suicide bombers was never really addressed but I was frankly astonished that Somerville was able to keep so many balls themes, characters, flashbacks, contexts, relationships in the air, never mind land them with such optimism and grace. 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. Brennan: Look, Im not calling Station Eleven a failure, or a disaster, or even a half-assed genre entry. DOI: http://doi.org/10.1093/alh/ajr019. Why in his life of frequent travel, had he never recognized the beauty of flight? 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 Yeah, I was interested in the randomness of what survives and what doesn't. Like Hicks, I argue that the contemporary post-apocalyptic novel addresses the nature of modernity (2016: 4); unlike Hicks, I argue that these fictions do so to critique, rather than to salvage, modernity, and specifically, to critique the apocalyptic understanding of time underlying Western modernity through what I term critical temporalities. The postmodern subversion of a realistic epistemology leads to the idea that there is no ultimate knowable historical truth, that our knowledge of the past is social and perspectival, and that written history exists within culturally determined power structures (Munslow, 2006: 27). HBO Maxs beguiling new mini-series is about a pandemic, but dont let that scare you off. 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. The only descriptions of the immediate aftermath Mandel gives her readers are through Jeevan, a paramedic who tries to help Arthur when he has a stroke on stage the night the pandemic begins. London: Windmill. As Elizabeth Deeds Ermarth (1992) emphasises, if modernity is about the belief in the epistemic neutrality and objectivity of our representations, postmodernity is ultimately about foregrounding the constructedness of our representations and of neutrality itself. who dies of a heart attack onstage as he plays King Lear in Toronto. Notice the singular civilization of the Museums name: it encapsulates the neoliberal dream of a unified globalised world in which all difference is erased under the global free market. Kermode, F [1966] 2000 The Sense of an Ending: Studies in the Theory of Fiction. We try to make the world make sense for a minute, she explains to young Kirsten. This critique of the sense of an ending is particularly important because, while it may be innocuous in narratives, if we construct history according to a teleological narrative model, we subscribe to determinism and a totalising explanation of the flow of time that risks justifying oppressions as part of a necessary pattern tending towards betterment. Station Eleven and The Last of Us share one more very specific similarity: juxtaposing destruction with art. Nothing (McCarthy, [2006] 2007: 216). Art and literature can, the series argues, offer some safety rails, some moments of connection. 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. DOI: http://doi.org/10.16995/olh.256. 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. The dystopias of contemporary post-apocalyptic scenarios become all the more significant if one considers that they are set when the traditional apocalyptic paradigm posits the utopian resolution which makes sense of everything that happened before. 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. I loved Station Eleven because it is the first post-apocalyptic show that revolves around its own holy text, in this case the hypnotic, possibly prophetic, graphic novel Station Eleven. We see its origins as, in flashback, Miranda (with Deadwyler in an equally devastating performance), turns her own experience with trauma and loss into a sort of universal language that connects the past with the future and literally helps save civilization. Station Eleven replicates what Gomel identifies as the plague pattern, where there is no place for millenarian rebirth. DOI: http://doi.org/10.4159/9780674495647. 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). You know because, mayhem is not a terribly sustainable way of life. (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. Because in the now, the before is all we have. In part because the partnership of Jeevan and Kirsten was so odd and hypnotic that Goneril dress! 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. Yet, she explains, it was important to me to not write that book [The Road]. In this altered world, there is a traveling Shakespearean theater company and symphony orchestra touring the small and fairly isolated communities in the Midwest.". But I fear the social future Station Eleven imagines is implausible, if not disingenuous. London: Picador. Chute, H L 2016 Disaster Drawn: Visual Witness, Comics, and Documentary Form. You know, it's interesting to think about what survives. Mackenzie Davis, left, leads the sprawling cast of HBO Maxs (post-)apocalyptic series Station Eleven.. These gaps keep spaces of possibility open in the novels structure, indicating Mitchells intention to debunk apocalyptic determinism and narrative foreshadowing. 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.). Consider the card games played belowdecks in the evenings on the ship carrying the containers across the ocean, a hand stubbing out a cigarette in an overflowing ashtray, a haze of blue smoke in dim light, the cadences of a half dozen languages united by common profanities, the sailors dreams of land and women, these men for whom the ocean was a grey-line horizon to be traversed in ships the size of overturned skyscrapers (Mandel, 2014: 255). 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. "No countries, no internet, no more Facebook, no more email. Yet beyond this cursory reference to the economic crisis, the novel remains curiously silent on the issues of the neoliberal order, including anthropogenic climate change, which represents the flip side of, and a significant threat to, capitalisms fundamental premise. Or, more precisely, it is half masterpiece, half not. 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. 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). Altre Modernit, 9: 6680. Confronted with Bertis preaching, the other characters of Couplands novel notice that the way Bertis talks is weird (Coupland, [2010] 2011: 187). Of Fiction kermode, F [ 1966 ] 2000 station eleven criticism sense of an Ending Studies... Argues, offer some safety rails, some moments of connection St. John Mandel 's new novel, Station requires! 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Post-Apocalyptic ravaged aftermaths implicitly subvert the central element of apocalyptic discourse is fabricated to push ideological..
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