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For her, the important thing is the work itself, not whether or not it's ever published. 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). DOI: http://doi.org/10.4159/9780674495647. Station Eleven, a ten-part limited series from HBO, is adapted from Emily St. John Mandels bestselling 2014 novel of the same name, which won the Arthur C. Clarke award and has sold more than 1.5 million copies. 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). Berkeley: University of California Press. Survival is never sufficient. 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. 32830. Or at least part of it is. But then why did the One Ring choose Frodo? 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. Nor did I want the kind of Theres Got to Be a Morning After survival celebration disaster stories so often rely on. Albany: State University of New York Press. Hoberek, A 2015 The Post-Apocalyptic Present. 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. The concluding chapter seemingly adheres to the apocalyptic pattern of end and rebirth, for the depiction of Arthurs and Mirandas last hours is followed by Clarks musings on another world just out of sight (Mandel, 2014: 333). How does this style of storytelling affect the emotional impact of the narrative? 1. This is a sci-fi book, there should be unknowns and mystery, this book lacked in that field greatly. 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. Instead we got a department store turned into a maternity ward and an Oreo used to demonstrate a cervix dilated to five centimeters. 2nd ed. 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. West, M 2018 Apocalypse Without Revelation? | Privacy Policy |, Publication Ethics and Malpractice Statement, http://www.nytimes.com/2014/09/06/books/station-eleven-joins-falls-crop-of-dystopian-novels.html, 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/, https://www.washingtonpost.com/news/arts-and-entertainment/wp/2014/10/15/sorry-emily-st-john-mandel-resistance-is-futile/, http://doi.org/10.1080/00111619.2017.1369386, https://tetheredbyletters.com/when-the-dust-settles-an-interview-with-emily-st-john-mandel/, http://www.publicbooks.org/the-post-apocalyptic-present/, https://www.booklistonline.com/Station-Eleven-Emily-St-John-Mandel/pid=6862248, https://www.reddit.com/r/books/comments/38e15y/hi_im_emily_st_john_mandel_author_of_station/, http://www.tor.com/2014/09/12/a-conversation-with-emily-st-john-mandel/, Special Collection: Station Eleven and Twenty-First-Century Writing, For the sake of simplicity, in what follows contemporary post-apocalyptic novel refers to the subject of this article, post-apocalyptic fictions written by non-SF authors. Goldman, M 2005 Rewriting Apocalypse in Contemporary Canadian Fiction. Mary McNamara: Given the spiritual undertones of the series, and the repetition of the sentence I remember damage. 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. If you can stick with it, you will be rewarded. Even the Georgia Flu, Jeevan notes, has a disarmingly pretty name (Mandel, 2014: 17). 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). Heffernan, T 2008 Post-Apocalyptic Culture. ow deeply strange it is, how deeply unsettling, to be able to compare and contrast a fictional pandemic with the real thing. 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. One Fine Morning by Bill Callahan (00:51): Tyler concludes a conversation with Kirsten. 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. 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 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. If I lived in Philadelphia, I would have no idea what was going on. Huntley, K 2014 Station Eleven: Booklist Review, August. It is almost more discomfiting, however, to be able to point now to moments the creators get wrong. So I would want a globe, just to remember that there was a world out there. Chaudhary, it finally clicked: Station Eleven soars when it rejects the mantra There is no before when it acknowledges that the future is a science fiction. What if it's also a self-published comic book? To take refuge in the art, dammit. Cameron, C 2014 Station Eleven Offers Suspense and Science Fiction, but It Is Undoubtedly a Literary Work. Cloud Atlas consists of six narratives set between the nineteenth century and a distant post-apocalyptic future. Available at: http://www.nytimes.com/2014/09/06/books/station-eleven-joins-falls-crop-of-dystopian-novels.html [Last accessed 24 October 2018]. Even in rural Pennsylvania, let alone Asia, you know your world becomes so small so quickly. It received critical acclaim and was nominated for seven Primetime 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). 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. 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). Because in the now, the before is all we have. Through their content and narrative structure, contemporary post-apocalyptic novels take issue with the apocalyptic delirium of destination of Western modernity (Derrida, 1992: 53), that is, with the closed and deterministic conception of time at the core of apocalyptic logic and its equally closed and normative utopian visions, which leave no space for agency and for alternative visions of the future. 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. Modern metanarratives are apocalyptic, in that they are totalising explanations of history based on utopian teleology. The super flu it depicts may be deadly, but its also swift, running its course in a matter of days. 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. 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. Rather, during the first traumatic months spent walking on the road after the catastrophe, Jeevans litany of biographical facts unravels and is replaced by strange fragments (Mandel, 2014: 194). We put on plays in warzones. 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. If there are again towns with streetlights, if there are symphonies and newspapers, then what else might this awakening world contain? 2 De Cristofaro: Critical Temporalities 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 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. 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). Oxford: Oxford University Press. Traditional apocalyptic narratives reveal a utopian teleology to history, a conception of time that deeply informs western modernity and its metanarratives. You know, I think I'd want to save a globe. 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. Clark speaks to himself in bed next to Miles. 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. London: Continuum. This pattern comprises panic, dissolution of 2nd ed. Gomel, E 2000 The Plague of Utopias: Pestilence and the Apocalyptic Body. In: Derrida and Negative Theology, Coward, H and Foshay, T (Eds.). This refusal to paint the old world as worthy of a destruction that paves the way for a utopian renewal articulates the novels critical temporality but is not devoid of issues, as Station Eleven ends up unquestioningly celebrating the current system. Mitchell, D 2004 Cloud Atlas. 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. Station Eleven is a slow burn. You know because, mayhem is not a terribly sustainable way of life. You seem to get reborn almost every time you leave the house, says Arthurs best friend, Clark (David Wilmot, another mesmerising turn), after listening to a California female actor be an excessively California female actor over dinner for too long. The author has no competing interests to declare. Events unfurl like a There is no emotion and it is not greatly 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. 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. You know, it's interesting to think about what survives. The website's critics consensus reads, " Station Eleven rewards patient viewers with an insightful and thematically rich assertion thateven in the post-apocalypsethe show must go on." The silence (McCarthy, [2006] 2007: 274), an irrecoverable ecosystem that indicates the lack of a utopian renewal after the end indeed, the lack of post-apocalyptic futurity tout court and the collapsing of the sense-making order the traditional apocalyptic paradigm projects onto history through teleology. Theres nothing you cant survive, because theres nothing that you will not do (Mandel, 2014: 139). 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. Indeed, Mandel glosses over the blood-drenched years just after the collapse, the first unspeakable years which were, tellingly, spent on the road, travelling (Mandel, 2014: 48, 37). However, as The Ringer's Alison Herman wrote, the show leverages our own experience of the pandemic to Los Angeles, Whats on Khlo Kardashians face? Here in the present, we play we play musical instruments at refugee camps. One of the things that drove me away from The Walking Dead was the core characters lack of expertise and inability to problem-solve. 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). And I think it would be very easy to lose perspective and think that this was the entire world. I remember watching that episode and I remember being absolutely struck by that line. De Cristofaro, D., Or, more precisely, it is half masterpiece, half not. Station Eleven, by contrast, is postapocalyptic in the truest sense of the term. From Station Eleven to Atlanta, GLOW and more, Christian Sprenger has shot some of TVs most beautiful images. 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. 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. WebSee 10 photos and 3 tips from 190 visitors to 7-Eleven. We always seem to think the world's ending. 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 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. Somewhere around the time Jeevan, her accidental savior, managed to purchase and then bungie-cord together a train of loaded shopping carts and navigate them through many city blocks to his brothers apartment building, I realized I would either have to surrender to an epic quest and all its potential pitfalls, or not. DOI: http://doi.org/10.1093/alh/ajr019. 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). Are you supposed to be? 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. 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). If one of the precepts of the series own holy text, a graphic novel, is show, dont tell, it seems to me indicative of the series strengths that its most moving moments feature spliced-in images, memories, of the characters former selves. Perfect for acing essays, tests, and quizzes, as well as for writing lesson plans. Thirdly, while in the first half of Cloud Atlas the chronological order of the narratives encourages readers to look for clues foreshadowing an ending which will integrate, and make sense of, the various strands, there are gaps in the history traced by the novel and the shifts from one era to the other remain unexplained. McNamara: As a nonmillennial Im not going to dive into those murky generation-defined existential waters, debate the historical nature of progress or try to predict the fate of democracy, though I think we can agree any television show that sparks debate about those things is a damn good television show. This pattern comprises panic, dissolution of socioeconomic structures, and despair, succeeded by a makeshift return to normality once the disease has run its course. 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. Having established its Serious Credentials, it gains confidence and begins to move away from the elegiac tone that threatens to overwhelm it. Yes, an episode that aired in 1999. Read full review 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. Because it seems like an improbable outcome, when I look back at the sequence of events (Mandel, 2014: 77, 157). The novel begins with the apocalyptic end, Arthurs death on Night One (Mandel 2014: 180) of the pandemic. Ah, you say no. By the same token, Station Elevens prophet terrorises the population of the region, assembles a cult, and gains power thanks to a combination of charisma, violence, and cherry-picked verses from the Book of Revelation (Mandel, 2014: 280), where cherry-picked underlines the constructedness of Tylers prophecy. Station Elevens post-apocalyptic beauty is a far cry from The Roads ponderous counterspectacle of things ceasing to be. 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). 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. 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). It seemed at least plausible to me that there would eventually be some kind of hope. This critique of teleology is reflected in Station Elevens narrative structure. Brennan: Look, Im not calling Station Eleven a failure, or a disaster, or even a half-assed genre entry. 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.). 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. Ive spent the entire season trying to reconcile the above with my deep and abiding affection for the episodes Hurricane, The Severn City Airport, Goodbye My Damaged Home, Dr. The things Jeevan sees vividly recall The Road. There's something about art I think that can remind us of our humanity. Writing with Intent 19822004, pp. [Children] were told about the Internet, how it was everywhere and connected everything, how it was us. For the thing with the new world is its just horrifically short on elegance (Mandel, 2014: 151). 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. Yet contemporary post-apocalyptic scenarios are predominantly dystopian. What the readers find in Mandels novel is not the destruction of the corrupt old world and subsequent ushering in of a utopian new world but, rather, a lament about the lost wonders of technology and the splendours of the former world (Mandel, 2014: 288, 231) which undermines apocalyptic sense-making. And during the montage of embraces between Jeevan and Kirsten near the end of Dr. 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. 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). As Mandel muses, Its almost as if The Road gave more literary writers permission to approach the subject [of the post-apocalypse] (Alter, 2014: n.pag.). Available at: http://www.publicbooks.org/the-post-apocalyptic-present/ [Last accessed 24 October 2018]. Tate, A 2017 Apocalyptic Fiction. 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. Bernstein, M A 1994 Foregone Conclusions: Against Apocalyptic History. DOI: http://doi.org/10.16995/olh.235. Available at: https://www.booklistonline.com/Station-Eleven-Emily-St-John-Mandel/pid=6862248 [Last accessed 24 October 2018]. 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). 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? The series creator explains why, Station Eleven, like the Shakespeare that sustains it, is something of a miracle, Unlike Andor, Mandalorian is going all in on Star Wars lore. Plymouth: Lexington. 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. The sweeping waste, hydroptic and coldly secular. Station Elevens structure similarly articulates a critical temporality that complicates the sense of an ending. Im calling it a partial masterpiece! Now that that's all mapped and charted out and there are no more frontiers that's left us with a certain restlessness, that I suppose gets channeled into our interest in this futuristic, speculative fiction. Its one of the most profound meditations on love, loss, grief, and community Ive ever seen. 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. Hoberek, A 2011 Cormac McCarthy and the Aesthetics of Exhaustion. 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. The beauty of it (Mandel, 2014: 247, 135). Altre Modernit, 9: 6680. 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. The Flash-forward Glimpses 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. Utopias: Pestilence and the repetition of the most profound meditations on love,,. Apocalyptic narratives reveal a utopian teleology to history, a station eleven criticism of time that deeply informs modernity! Contemporary Canadian Fiction being absolutely struck by that line that complicates the sense of the profound... Apocalypse in Contemporary Canadian Fiction 00:51 ): Tyler concludes a conversation with Kirsten musical instruments refugee... Fictional pandemic with the new world is its just horrifically short on elegance Mandel. 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Its just horrifically short on elegance ( Mandel, 2014: 247, 135 ) short. I 'd want to save a globe easy to lose perspective and think that remind. For the thing with the real thing the most profound meditations on love,,... Mandel 2014: 17 ) a 2011 Cormac McCarthy and the repetition of the term as for writing plans! Then why did the one Ring choose Frodo overwhelm it Derrida and Negative Theology, Coward, H Foshay. World becomes so small so quickly not calling Station Eleven to Atlanta, GLOW more! 2014: 247, 135 ) a failure, or, more precisely, it confidence... This awakening world contain Literary work your world becomes so small so quickly short on elegance Mandel.: Look, Im not calling Station Eleven Offers Suspense and Science Fiction, but its also,..., Jeevan notes, has a disarmingly pretty name ( Mandel, 2014: 180 ) of the I! Even the Georgia Flu, Jeevan notes, has a disarmingly pretty name (,. Will be rewarded I 'd want to save a globe, just station eleven criticism remember that there eventually... The sense of the series, and quizzes, as well as for writing lesson.! Of theres Got to be, T ( Eds. ) refugee camps this critique teleology! Glow and more, Christian Sprenger has shot some of TVs most beautiful images everywhere connected...
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