station eleven criticism

We begin, really, to care, to wonder, to ask more questions. Matt Brennan is a Los Angeles Times deputy editor for entertainment and arts. Station Eleven. Mackenzie Davis, left, leads the sprawling cast of HBO Maxs (post-)apocalyptic series Station Eleven.. This article examines Emily St. John Mandels Station Eleven (2014) in the context of the growing body of contemporary post-apocalyptic fictions and what I argue is their critique of the apocalyptic tradition. 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). He previously served as TV editor at Paste Magazine, and his writing has also appeared in Indiewire, Slate, Deadspin and numerous other publications. Goes Out newsletter, with the week's best events, to help you explore and experience our city. That we secretly desire a situation in which this entire apparatus is blown up and we all start over again on perfect equal footing. Of course you hope in a scenario like this, what would survive would be the Beethoven symphonies, the Shakespeare plays, the things that we think of as the highest and most exalted expressions of our culture. 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. Herein lies its critical distance from the utopian teleology of the traditional apocalyptic paradigm. 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). As Jeevan describes it, this night, was going to be the divide between a before and an after, a line drawn through his life (Mandel, 2014: 20; emphasis in original). Tom's Guide's latest streaming news. 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. 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). 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. A Pulitzer Prize winner in 2015 and finalist for criticism in 2013 and 2014, she has won various awards for criticism and feature writing. 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). In Player One, Bertis justifies his murders through a similar self-righteous moral dualism and teleology. 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. 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 This pattern comprises panic, dissolution of It could remind us of our civilization. Available at: https://tetheredbyletters.com/when-the-dust-settles-an-interview-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. 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. Your purchase helps support NPR programming. It wasnt like that. The final minutes of the Station Eleven finale reunite Kirsten (Mackenzie Davis) and Jeevan (Himesh Patel) after 19 years apart. But Station Elevens apocalypse does not bring any sense-making order. 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. There are as is starting to feel mandatory with small-screen dramas two timelines. Emily St. John Mandel's new novel, Station Eleven, opens with a vain actor and is there really any other kind? 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. 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). In part because the partnership of Jeevan and Kirsten was so odd and hypnotic that Goneril dress! You know, I think I'd want to save a globe. 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. As for the issue of whether or not art has saved us, there is no way of knowing, though it certainly has functioned, at the very least, like the COVID-19 vaccinations incapable of eradicating evil but allowing more people to survive it. Further threads arise from the stories of other settlements one led by Clark and the female actor (Elizabeth, played by Caitlin FitzGerald, who ended up marrying Arthur after an affair they began while he was with Miranda) and begin to be woven together. Survival is never sufficient. London: Windmill. Station Eleven , the HBO Max show whose finale airs Thursday, is something else entirely. WebStation Eleven contains many explicit references to other works of art, and relies on them heavily for source material. WebThe book Station Eleven, by Emily Mandel, started when a famous actor dies on stage while performing the play King Lear. Just like Tyler, Bertis sees himself as the prophet of the new world to come, which is, however, not for everyone. Instead of examining all the light/dark political dynamics of rebuilding a post-catastrophe society, it concedes that capturing mass trauma is impossible and potentially unhelpful. The improbability of it, muses Clark, who is echoed by Kirsten reminiscing about the urban landscape seen from a plane at night: clusters and pinpoints of light in the darkness, scattered constellations linked by roads or alone. Globe and Mail, 12 September. 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). 2nd ed. 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). Plymouth: Lexington. 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. Art and literature can, the series argues, offer some safety rails, some moments of connection. Apocalyptic writings, ever since their religious origins, have flourished at times of crisis and [I]t is to this disquieting sense of disorder that the apocalyptic myth speaks, reasserting teleological design and cosmic meaning (Rosen, 2008: xviii). It received critical acclaim and was nominated for seven Primetime 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. 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). 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. Her previous novels were Last Night in Montreal, The Singers Gun, and The Lola Quartet. To take refuge in the art, dammit. DOI: http://doi.org/10.1080/00111619.2017.1369386. Oxford: Oxford University Press. Cloud Atlas consists of six narratives set between the nineteenth century and a distant post-apocalyptic future. Read full review And, as a sniper, he believes he is clearing the way for gods new utopian order, for [T]he people [he] shot bothered God. Princeton: Princeton University Press. We try to make the world make sense for a minute, she explains to young Kirsten. However, on the one hand, the novel is far from adhering to the radical utopian renewal of traditional apocalyptic discourse. Learn exactly what happened in this chapter, scene, or section of Station Eleven and what it means. His co-stars can't remember if he had a family to notify. Minneapolis: University of Minnesota Press. 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). Rosen, E K 2008 Apocalyptic Transformation: Apocalypse and the Postmodern Imagination. Cultural Dominant. 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. Author Emily St. John Mandel was not involved in the adaptation of her hit novel. 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. We were saved because we are the light. Tate, A 2017 Apocalyptic Fiction. 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. However, as The Ringer's Alison Herman wrote, the show leverages our own experience of the pandemic to 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. 21:1), frames the apocalyptic origin of the distinction between the elect and the non-elect at the core of the cults credo when fervently claiming that the survivors names are recorded in the book of life (Mandel, 2014: 286). 32830. If there are again towns with streetlights, if there are symphonies and newspapers, then what else might this awakening world contain? Nothing (McCarthy, [2006] 2007: 216). Why in his life of frequent travel, had he never recognized the beauty of flight? Rather than stressing the end, the emphasis is on the present and its ethical value, as the moment in which individuals take choices that inform the future. DOI: http://doi.org/10.16995/olh.256. 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. Station Eleven is a slow burn. According to Elana Gomel, plague narratives are structured by the logic of iterative mortality that undermines the teleological progression of the apocalypse. 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). In the very early days, for example, Jeevan and Kirsten go round a supermarket that is full of produce but empty of people. Log In; Station Eleven. Heres what to know, From Chris Rock to the SAG Awards. How Station Eleven pulled off the impossible, Original reporting and incisive analysis, direct from the Guardian every morning. 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. 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. I dont [sic] think so. So yeah, there is a comic book that's drawn by a character in the present day. 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. You know, it's interesting to think about what survives. 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. Because in stretches the first comes achingly close to being a masterpiece. (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.). De Cristofaro, D 2013 The Representational Impasse of Post-Apocalyptic Fiction: The Pesthouse by Jim Crace. Hoberek, A 2015 The Post-Apocalyptic Present. 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). This passage is a clear intertextual reference to McCarthys The Road, whose world is complete with travellers with shell-shocked expressions, children walking covered in blankets, people being killed for their backpacks contents, and a hungry dog. Griffith, C 2015 When the Dust Settles: An Interview with Emily St. John Mandel, April. Im calling it a partial masterpiece! Both Tyler and Bertis exhibit traits of what Catherine Keller identifies as the apocalypse pattern (1996: 11): the faith in historical determinism, the inclination to think in terms of clear-cut polarities of good versus evil and the identification with the good that purges the evil from the old world and is worthy of the imminent utopian renewal of the new world. You know, it's interesting. The Road is a recurrent point of comparison for Station Eleven in academic analyses and reviews alike (Tate, 2017: 13233; Alter, 2014; Huntley, 2014). 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. Coupland, D (2010) 2011 Player One. 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. Indeed, both Station Eleven and Player One emphasise how the teleological determinism and moral dualism of apocalyptic logic are self-referential narrative constructs which legitimise the oppressions and violence of those who articulate these narratives. For her, the important thing is the work itself, not whether or not it's ever published. 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. 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. This reaction, of course, is a reflection of our own present, in which art seems to swim ceaselessly against the tide. 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. This pattern comprises panic, dissolution of socioeconomic structures, and despair, succeeded by a makeshift return to normality once the disease has run its course. DOI: http://doi.org/10.1093/alh/ajr019. From Station Eleven to Atlanta, GLOW and more, Christian Sprenger has shot some of TVs most beautiful images. For the profound influence of apocalypticism on modernity can also be qualified as a chronic disease of the Western politics and poetics of temporality, a disease characterised by what Derrida called the disorder or delirium of destination (Gomel, 2010: 121). 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 refusal of this transition, I argue, is at the core of contemporary post-apocalyptic novels be they about pandemics or not for in these texts the aftermaths of the cataclysmic destruction of the world as we know it are preponderantly dystopian.8 In this section, I compare Station Elevens more nuanced and hopeful version of the aftermath with The Roads univocally ravaged and hopeless post-apocalyptic world to discuss how, notwithstanding varying degrees of dystopian scenarios, contemporary post-apocalyptic fictions consistently articulate critical temporalities that reject the traditional apocalyptic notion of a utopian teleology active in history. Station Eleven replicates what Gomel (2000: 408) identifies as the plague pattern, where there is no place for millenarian rebirth. 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. As one of the survivors puts it, Elizabeths [the prophets mother] a fucking lunatic (Mandel, 2014: 253). If nothing else, its pleasant to consider the possibility. DOI: http://doi.org/10.4324/9780203969908. Station Eleven repeatedly emphasises that there is no deterministic pattern to time, contrary to what apocalyptic logic affirms. The novel begins with the apocalyptic end, Arthurs death on Night One (Mandel 2014: 180) of the pandemic. You are right about how the timeframe jumps from immediate crisis to a relatively established recovery. WebRotten Tomatoes reports a 98% approval rating with an average rating of 8.1/10, based on 54 critic reviews. You know because, mayhem is not a terribly sustainable way of life. 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. Station Eleven 's premise is terribly current for the post-COVID world. 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? 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. 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. For me, its what Ive taken to calling the series present the The Swiss Family Robinson managed, and they were mostly kids! 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. 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. Among the 1% left Himesh Patel and Matilda Lawler in Station Eleven. WebSee 15 photos and 3 tips from 556 visitors to 7-Eleven. [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. ] 2007: 216 ) when the Dust Settles: An Interview Emily! 2000: 408 ) identifies as the plague pattern, where there is deterministic... 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