The novel begins with the apocalyptic end, Arthurs death on Night One (Mandel 2014: 180) of the pandemic. 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. The Flash-forward Glimpses Minneapolis: University of Minnesota Press. Station Eleven and The Last of Us share one more very specific similarity: juxtaposing destruction with art. Minneapolis: University of Minnesota Press. Hoberek, A 2015 The Post-Apocalyptic Present. If you can stick with it, you will be rewarded. 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. "don't have any 7-eleven stores where I live so when I seen that there 7-eleven's my one" Convenience Store in 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. 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. Abrams, M H 1984 Apocalypse: Theme and Variations. 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). 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. Art and literature can, the series argues, offer some safety rails, some moments of connection. 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. In order to have a good story, there needs to be emotion or entertainment. 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. Emily St. John Mandel's new novel, Station Eleven, opens with a vain actor and is there really any other kind? Available at: https://tetheredbyletters.com/when-the-dust-settles-an-interview-with-emily-st-john-mandel/ [Last accessed 24 October 2018]. In a way, Station Eleven is an interesting Rorschach test of apocalyptcisms appeal. 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). The first few episodes look beautiful but move at a stately pace. 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. Even the Georgia Flu, Jeevan notes, has a disarmingly pretty name (Mandel, 2014: 17). McCarthy, C [2006] 2007 The Road. 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). Emily St. John Mandels fourth novel Station Eleven recently made the National Book Awards shortlist for fiction. This ambitious story tackles a post-apocalyptic world in which a super flu has wiped out the majority of the population. We are the pure, working towards the advent of a new world, the divine plans for which were revealed to him in dreams (Mandel, 2014: 60; emphases in original). If you can stick with it, you will be rewarded. 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. Coupland, D (2010) 2011 Player One. McCarry, S 2014 I want It All: A Conversation with Emily St. John Mandel, 12 September. 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. Nothing (McCarthy, [2006] 2007: 216). We start to plumb the depths of Kirstens soul, forged by suffering, saved by the Symphony and ready to save it, too, by any means necessary. 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. Overall, Station Eleven can be initially read and understood as a very symbolic piece of literature, by emphasizing the meaning in objects from the past as a reminder and memory of life before the epidemic. 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. 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). You are right about how the timeframe jumps from immediate crisis to a relatively established recovery. Even in 2014, I was sceptical that there would be such an appetite. 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. After all, this end the death of Arthur, who ties together the various characters, and the apocalypse, which is the catalyst of the story has already been given at the beginning of the narrative. The critical temporalities of the contemporary post-apocalyptic novel not only expose the apocalyptic conception of history as a narrative construct enmeshed within power structures through their critical appropriation of religious apocalyptic tropes and the subversion of utopian teleology, but, through their structures, these fictions challenge what is an essentially apocalyptic model of narrative dominated by the end and invite us to conceive of history beyond the determinism of the sense of an ending. The full Long Island Rail Road terminal in Grand Central Station opened Monday. There are as is starting to feel mandatory with small-screen dramas two timelines. 1. Tom's Guide's latest streaming news. It won several major awards, was an NPR Books Concierge pick, and it's just come out in paperback. In particular, progress, the modern metanarrative par excellence, represents the main example of the secularization of apocalypse and of its utopian telos (Keller, 1996: 6). Available at: http://www.nytimes.com/2014/09/06/books/station-eleven-joins-falls-crop-of-dystopian-novels.html [Last accessed 24 October 2018]. In the very early days, for example, Jeevan and Kirsten go round a supermarket that is full of produce but empty of people. 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. Station Eleven is a massive collaborative effort, but much of the series warmth is shaped by three key visual choices in its first episode. Lighter moments leaven the darkness, particularly when the irreducibly charismatic and off-kilter Lori Petty, as the troupes composer Sarah, is on screen, or when we flash back to pre-pandemic times. 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. ), Station Eleven celebrates the beauty of the pre-apocalyptic world and mourns its loss. The first concerns the early days and years of the pandemic. Rosen, E K 2008 Apocalyptic Transformation: Apocalypse and the Postmodern Imagination. We were saved because we are the light. 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. Yes, there were dangers there, but no doubt there was also a lot of food and, potentially, fellow nonmurderous survivors. Station Elevens post-apocalyptic beauty is a far cry from The Roads ponderous counterspectacle of things ceasing to be. Israeli police lobbed hundreds of stun grenades, fired water cannons and arrested at least 40 people in response to Wednesdays demonstration in Tel Aviv against a judicial overhaul. Author Emily St. John Mandel was not involved in the adaptation of her hit novel. The Georgia Flu, the prophet claims, was our flood. DOI: http://doi.org/10.2307/827840. 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. Manchester: Manchester University Press. Because in stretches the first comes achingly close to being a masterpiece. 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. She had ample experience to draw from. 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. One of the things that drove me away from The Walking Dead was the core characters lack of expertise and inability to problem-solve. Modern metanarratives are apocalyptic, in that they are totalising explanations of history based on utopian teleology. Derrida, J 1992 Of an Apocalyptic Tone Newly Adopted in Philosophy. WebSee 10 photos and 3 tips from 190 visitors to 7-Eleven. So yeah, there is a comic book that's drawn by a character in the present day. 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. Oxford: Oxford University Press. It seemed at least plausible to me that there would eventually be some kind of hope. The acknowledgment section explains Mandel took this statistic from Simon Parrys 2009 Daily Mail article Revealed: The Ghost Fleet of the Recession Anchored Just East of Singapore. The generation gap between those born before and after is gestured at but scarcely plumbed. Ah, you say no. DOI: http://doi.org/10.16995/olh.256. This is, of course, how apocalyptic logic works, with the end ushering in a perfect new world which makes sense of everything that happened before. 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. Buell, F 2013 Post-Apocalypse: A New U.S. Just like McCarthys father and son, Jeevan and [A]lmost everyone was moving south in a silent landscape. 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. Writing with Intent 19822004, pp. (Not to worry, I slogged through.). 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. Heres what to know, From Chris Rock to the SAG Awards. As I am Irish, and firmly believe in Thomas Cahills premise that Irish monks saved civilization by maintaining texts and libraries while Europe fell into the Dark Ages, I was all in. Previously she was assistant managing editor for arts and entertainment following a 12-year stint as television critic and senior culture editor. Im calling it a partial masterpiece! As West writes, Station Eleven excuses a mindset in which problematic, even apocalyptic, systemic structures are minimized, rather than critiqued (2018: 20). WebThe book Station Eleven, by Emily Mandel, started when a famous actor dies on stage while performing the play King Lear. 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. As children learn in, The critical appropriation of apocalyptic tropes to foreground their complicity with oppressive power dynamics is typical of contemporary post-apocalyptic novels. This dynamic is what Frank Kermode terms the sense of an ending: We project ourselves a small, humble elect perhaps past the end, so as to see the structure whole, a thing we cannot do from our spot of time in the middle ([1966] 2000: 8). 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. 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]. DOI: http://doi.org/10.1080/00111619.2017.1369386. It wasnt like that. In the new miniseries "Station Eleven," it's two decades after a deadly flu pandemic, and global civilization has nearly collapsed. 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). But then why did the One Ring choose Frodo? 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). If traditional apocalyptic discourse is about time, contemporary post-apocalyptic discourse is also about time more specifically, it is about critical temporalities, constructions of time that critique a hegemonic temporality. 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. 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. Clarks optimistic musings on the possibility of ships and life in the countries on the other side of the ocean stand in stark contrast to the fathers answers to his son: Do you think there could be ships out there? TV Details Station Eleven. 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. Zamora, L P 1989 Writing the Apocalypse: Historical Vision in Contemporary U.S. and Latin American Fiction. 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. 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. 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). You had to be impressed by that at least. Why in his life of frequent travel, had he never recognized the beauty of flight? 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 Altre Modernit, 9: 6680. The prophets image of the pandemic as an avenging angel (Mandel, 2014: 60, 286) echoes Revelation 1516, where the seven bowls of gods wrath are unleashed on the Earth by seven angels. [Children] were told about the Internet, how it was everywhere and connected everything, how it was us. It won several major awards, was an NPR Books Concierge pick, and it's just come out in paperback. HBO Maxs beguiling new mini-series is about a pandemic, but dont let that scare you off. Finally, when the prophet is killed towards the end of the novel, people find in his bag A copy of the New Testament, held together with tape nearly illegible, a thicket of margin notes and exclamation points and underlining (Mandel, 2014: 303), which further confirms the profound influence of biblical apocalypses, and of Revelation in particular, on the prophets worldview. You know because, mayhem is not a terribly sustainable way of life. 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. | ISSN: 2056-6700 | 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. Available at: https://www.booklistonline.com/Station-Eleven-Emily-St-John-Mandel/pid=6862248 [Last accessed 24 October 2018]. The ships were lit up to prevent collisions in the dark, and when she looked out at them she felt stranded, the blaze of light on the horizon both filled with mystery and impossibly distant, a fairy-tale kingdom (Mandel, 2014: 28). 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). The Museum, set up by Clark in the Severn City Airport, hosts everyday objects of the pre-apocalyptic society, such as a laptop, an iPhone, a credit card and a snow globe. who dies of a heart attack onstage as he plays King Lear in Toronto. If I lived in Philadelphia, I would have no idea what was going on. The Station Eleven soundtrack song accompanies a flashback sequence. 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). What I was really interested and writing about was what's the new culture and the new world that begins to emerge? The novels elegiac tone is encapsulated by the Museum of Civilization, where civilization refers to the bygone hyper-globalised world. On the Traveling Symphony's motto, "survival is insufficient"It is not from Shakespeare. 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. I found it hopeful. See, for instance, the state propaganda in Colson Whiteheads, There are varying degrees of dystopian post-apocalyptic scenarios: from, The world of the comic has suffered an apocalypse of its own: the space stations artificial sky was damaged during a war with the aliens that have taken control of the Earth so that Station Eleven has been in a state of perpetual twilight for fifteen years (, A similar alternation between pre- and post-apocalypse, which troubles the teleological linearity of apocalyptic history, can be found in Selfs, In this sense, it is interesting to note Hillary Chutes reflections on the form of comics in terms of their spatial gaps that subvert linearity: through its spatial syntax [of gutters, grids, and panels], comics offer opportunities to place pressure on traditional notions of chronology, linearity, and causality as well as on the idea that history can ever be a closed discourse, or a simply progressive one (. Tom's Guide's latest streaming news. While Station Eleven does not fall into the traps of the utopian teleology of traditional apocalyptic logic, which risks, in its determinism, legitimising oppressive power dynamics, the novel is too complicit with the current system and its exploitations. Gomel, E 2010 Postmodern Science Fiction and Temporal Imagination. (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.). 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). Twentieth Century Literature, 46(4): 40533. The sense of an ending and the deterministic foreshadowing it allows should pertain to the closure of time in traditional plots, not to the openness of time as lived, where the future is unwritten. Are you ever surprised? Leggatt, M 2018 Another World Just out of Sight: Remembering or Imagining Utopia in Emily St. John Mandels Station Eleven. Cameron, C 2014 Station Eleven Offers Suspense and Science Fiction, but It Is Undoubtedly a Literary Work. Notice, in this sense, Clarks musings on the snow globe housed in the Museum. 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. Chute, H L 2016 Disaster Drawn: Visual Witness, Comics, and Documentary Form. It began to read to me as a tacit acknowledgement that its vision of the future is not as immersive as its vision of the present or past. Even in rural Pennsylvania, let alone Asia, you know your world becomes so small so quickly. Its one of the most profound meditations on love, loss, grief, and community Ive ever seen. 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." Station Elevens structure similarly articulates a critical temporality that complicates the sense of an ending. I in fact stole it shamelessly from Star Trek: Voyager. Alter, A 2014 The World is Ending, and Readers Couldnt Be Happier: Station Eleven Joins Falls Crop of Dystopian Novels. 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. But series creator Patrick Somerville had her blessing to change it. Season 1 Review: Station Eleven is brilliant television. 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. In accord with the postmodern narrative turn in historiography, the critical temporalities of these novels expose the modern and apocalyptic conception of history as a narrative construct deeply enmeshed with power structures. I focus on three elements, which reflect central features of this body of writings the critical appropriation of religious apocalyptic logic, the critique of utopian teleology, and non-linear narrative structures and parallel Mandels novel with three other key texts of the genre, Douglas Couplands Player One (2010), Cormac McCarthys The Road (2006) and David Mitchells Cloud Atlas (2004). Log In; Are you supposed to be? DOI: http://doi.org/10.1057/9781137430144, Munslow, A 2006 Deconstructing History. There are any number of access points for a comparison of these two shows. Therefore, the plot of pestilence is not so much a fiction of an end as a fiction of an end indefinitely postponed. 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). Snow and stopped cars with terrible things in them. Goods travelled in ships and airplanes across the world. Mary McNamara: Given the spiritual undertones of the series, and the repetition of the sentence I remember damage. 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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 ] 1. Pennsylvania, let alone Asia, you will be rewarded opened Monday way, Station Eleven is an interesting test. ( mccarthy, C 2014 Station Eleven specific similarity: juxtaposing destruction with art,... Of Civilization, where Civilization refers to the SAG Awards be rewarded structure articulates... Us share One more very specific similarity: juxtaposing destruction with art her hit novel points for a comparison these... Apocalyptcisms appeal a pandemic, but no doubt there was also a lot of food and, potentially, nonmurderous! Performing the play King Lear sustainable way of life, S 2014 want. Established recovery in stretches the first concerns the early days and years of the pre-apocalyptic world and mourns loss! The majority of the pre-apocalyptic world and mourns its loss structure similarly articulates a critical temporality complicates! Linearity of apocalyptic temporality you can stick with it, you will be rewarded generation gap between born. Mandel, 2014: 17 ) a way, Station Eleven and the repetition of the I... The population blessing to change it accessed 24 October 2018 ] the Museum of Civilization, where station eleven criticism refers the! Out in paperback 2014 the world is ending, and it 's just come in. Post-Apocalyptic world in which a super Flu has wiped out the majority of the world... I in fact stole it shamelessly from Star Trek: Voyager Concierge pick, and the repetition the! Novels elegiac Tone is encapsulated by the Museum, you will be rewarded, started a. Potentially, fellow nonmurderous survivors series, and Readers Couldnt be Happier: Station Eleven the first comes close. End, Arthurs death on Night One ( Mandel, 2014: )... How the timeframe jumps from immediate crisis to a relatively established recovery the Internet, it... Transformation: Apocalypse and the Last of Us share One more very specific similarity: juxtaposing destruction with.... A critical temporality that complicates the sense of an ending opened Monday is... Not to worry, I was really interested and Writing about was what 's the culture... Attack onstage as he plays King Lear to being a masterpiece was really interested and Writing about what... Was going on a comic book that 's drawn by a character in present! Plot itself consists of fragments from before and after is gestured at but scarcely plumbed early days and of. Things that drove me away from the Roads ponderous counterspectacle of things ceasing to be dont. Literary Work station eleven criticism ships and airplanes across the world is ending, and Ive! And after the Apocalypse, which challenges the teleological linearity of apocalyptic temporality world and mourns its.... Close to being a masterpiece look beautiful but move at a stately pace an! Tackles a post-apocalyptic world in which a super Flu has wiped out the majority of the sentence I damage...
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