Station Eleven, by Emily St. John Mandel
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Station Eleven, by Emily St. John Mandel
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A National Book Award FinalistA PEN/Faulkner Award Finalist Kirsten Raymonde will never forget the night Arthur Leander, the famous Hollywood actor, had a heart attack on stage during a production of King Lear. That was the night when a devastating flu pandemic arrived in the city, and within weeks, civilization as we know it came to an end. Twenty years later, Kirsten moves between the settlements of the altered world with a small troupe of actors and musicians. They call themselves The Traveling Symphony, and they have dedicated themselves to keeping the remnants of art and humanity alive. But when they arrive in St. Deborah by the Water, they encounter a violent prophet who will threaten the tiny band’s existence. And as the story takes off, moving back and forth in time, and vividly depicting life before and after the pandemic, the strange twist of fate that connects them all will be revealed.
Station Eleven, by Emily St. John Mandel- Amazon Sales Rank: #408 in Books
- Brand: Vintage
- Published on: 2015-06-02
- Released on: 2015-06-02
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .80" w x 5.20" l, .60 pounds
- Binding: Paperback
- 352 pages
Amazon.com Review
An Amazon Best Book of the Month, September 2014: A flight from Russia lands in middle America, its passengers carrying a virus that explodes “like a neutron bomb over the surface of the earth.” In a blink, the world as we know it collapses. “No more ballgames played under floodlights,” Emily St. John Mandel writes in this smart and sober homage to life’s smaller pleasures, brutally erased by an apocalypse. “No more trains running under the surface of cities ... No more cities ... No more Internet ... No more avatars.” Survivors become scavengers, roaming the ravaged landscape or clustering in pocket settlements, some of them welcoming, some dangerous. What’s touching about the world of Station Eleven is its ode to what survived, in particular the music and plays performed for wasteland communities by a roving Shakespeare troupe, the Traveling Symphony, whose members form a wounded family of sorts. The story shifts deftly between the fraught post-apocalyptic world and, twenty years earlier, just before the apocalypse, the death of a famous actor, which has a rippling effect across the decades. It’s heartbreaking to watch the troupe strive for more than mere survival. At once terrible and tender, dark and hopeful, Station Eleven is a tragically beautiful novel that both mourns and mocks the things we cherish. –Neal Thompson
Review One of the Best Books of the Year: The Washington Post, San Francisco Chronicle, Chicago Tribune, Buzzfeed, and Entertainment Weekly, Time, Milwaukee Journal Sentinel, Minnesota Public Radio, The Huffington Post, BookPage, Time Out, BookRiot “Station Eleven is so compelling, so fearlessly imagined, that I wouldn’t have put it down for anything.” — Ann Patchett “A superb novel . . . [that] leaves us not fearful for the end of the word but appreciative of the grace of everyday existence.” —San Francisco Chronicle “Deeply melancholy, but beautifully written, and wonderfully elegiac . . . A book that I will long remember, and return to.”— George R. R. Martin “Absolutely extraordinary.” —Erin Morgenstern, author of The Night Circus “Darkly lyrical. . . . A truly haunting book, one that is hard to put down." —The Seattle Times “Tender and lovely. . . . Equal parts page-turner and poem.”—Entertainment Weekly “Mesmerizing.” — People “Mandel delivers a beautifully observed walk through her book’s 21st century world…. I kept putting the book down, looking around me, and thinking, ‘Everything is a miracle.’”—Matt Thompson, NPR “Magnificent.” —Booklist “My book of the year.”—Karen Joy Fowler, author of We Are All Completely Beside Ourselves “Unmissable. . . . A literary page-turner, impeccably paced, which celebrates the world lost.” —Vulture “Haunting and riveting.”—Milwaukee Journal Sentinel “Station Eleven is the kind of book that speaks to dozens of the readers in me—the Hollywood devotee, the comic book fan, the cult junkie, the love lover, the disaster tourist. It is a brilliant novel, and Emily St. John Mandel is astonishing.” —Emma Straub, author of The Vacationers “Think of Cormac McCarthy seesawing with Joan Didion. . . . Magnetic.” —Kirkus (starred)“Even if you think dystopian fiction is not your thing, I urge you to give this marvelous novel a try. . . . [An] emotional and thoughtful story.” —Deborah Harkness, author of The Book of Life“It’s hard to imagine a novel more perfectly suited, in both form and content, to this literary moment. Station Eleven, if we were to talk about it in our usual way, would seem like a book that combines high culture and low culture—“literary fiction” and “genre fiction.” But those categories aren’t really adequate to describe the book” —The New Yorker“Audacious. . . . A book about gratitude, about life right now, if we can live to look back on it." —Minneapolis Star-Tribune“A surprisingly beautiful story of human relationships amid devastation.” —The Washington Post “Soul-quaking. . . . Mandel displays the impressive skill of evoking both terror and empathy.” —Los Angeles Review of Books“A genuinely unsettling dystopian novel that also allows for moments of great tenderness. Emily St. John Mandel conjures indelible visuals, and her writing is pure elegance.” —Patrick deWitt, author of The Sisters Brothers“Possibly the most captivating and thought-provoking post-apocalyptic novel you will ever read.” —The Independent (London)“A firework of a novel . . . full of life and humanity and the aftershock of memory.” —Lauren Beukes, author of The Shining Girls“One of the best things I’ve read on the ability of art to endure in a good long while.” —Tobias Carroll, Electric Literature“Will change the post-apocalyptic genre. . . . This isn’t a story about survival, it’s a story about living.” —Boston Herald “A big, brilliant, ambitious, genre-bending novel. . . . Hands-down one of my favorite books of the year.” —Sarah McCarry, Tor.com“Strange, poetic, thrilling, and grim all at once, Station Eleven is a prismatic tale about survival, unexpected coincidences, and the significance of art.” —Bustle, “Best Book of the Month”“Disturbing, inventive and exciting, Station Eleven left me wistful for a world where I still live.” —Jessie Burton, author of The Miniaturist
About the Author Emily St. John Mandel was born in British Columbia, Canada. She is the author of three previous novels—Last Night in Montreal, The Singer’s Gun, and The Lola Quartet—all of which were Indie Next picks. She is a staff writer for The Millions, and her work has appeared in numerous anthologies, including The Best American Mystery Stories 2013 and Venice Noir. She lives in New York City with her husband.www.emilymandel.com
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Most helpful customer reviews
462 of 500 people found the following review helpful. Survival is insufficient By H. Millay This is a beautiful, haunting novel about the end of the world as we know it (thanks to something called the Georgia flu, which wipes out 99% of the world's population in mere days). The story jumps back and forth between the time before and after "the collapse," and the narration rotates through various characters' points of view. Though the premise (plague apocalypse) sounds sci-fi, Station Eleven is light on the science and heavy on the philosophy. It's definitely much more about how the apocalypse affects humanity and civilization than it is about the details of the apocalypse. If you're familiar with survivalist stories like S.M. Stirling's Emberverse series, this is basically the inverse of that. The author isn't concerned with where people are getting their food and fresh water twenty years post-apocalypse. She's more into the tragic beauty of a fleet of jumbo jets that haven't flown in decades lined up neatly on a runway in the falling snow.That brings us to one of the main themes of this tale, "survival is insufficient." Taken from a Star Trek episode, the phrase is the motto of the Traveling Symphony, a ragtag band of musicians and actors who roam what's left of the Midwest, playing classical music and performing Shakespeare. The ability to create and appreciate art, they believe, is essential to our humanity. It's what takes us beyond mere survival and makes us something more than animals. I loved this part of the book, how the little settlements of people living in Walmarts and gas stations would rush out to hear Beethoven, tears streaming down their faces. This is one of my favorite angles of post-apocalyptic fiction - once we've figured out how to survive, how do we learn to LIVE again? What exactly is it that makes us human? How do we go about redefining humanity, rebuilding civilization?The author also touches on the enduring power of art and storytelling, and the ways in which stories connect us all. Beyond the Beethoven and the Shakespeare, there's a comic book called Station Eleven that features prominently (and also gives the novel its name). It was written, somewhat randomly, by the first wife of a very famous Hollywood actor. She wrote the comic for herself and published only two copies, which end up in the hands of two of the main characters post-apocalypse. The comics have a profound impact on both characters (so the obscure art of the obscure ex-wife endures because art is forever, while the Hollywood actor is forgotten because who cares about Hollywood after the end of the world). The stories of the two characters in possession of the comics are mostly separate, though absolutely intertwined - as are ALL of the characters' stories. One of the most amazing aspects of this novel is how all of the characters are connected, both pre- and post-collapse. I kept waiting for many of them to cross paths and realize their connection, their shared stories. Some did, and some didn't - the latter bothered me at first, until I realized that's the way the world works. We're all woven into the same giant tapestry, whether we see the individual threads or not. That, along with King Lear and Beethoven's 9th and unheard-of graphic novels about being stranded in space, is the beauty of humankind.
65 of 72 people found the following review helpful. a near-perfectly crafted text in terms of structure and style, imbued with a haunting depth of feeling and heart. By B. Capossere “Quiet” and “lovely” are not usually words one reaches for when describing a post-apocalyptic novel. Not with the reverted-back-to-savagery cannibals; the road-raging-mohawk-sporting highway warriors; the gleeful told-you-so rat-a-tat of survivalist gunfire, or the annoying mumblespeak “braiiinnnnss” from the shambling zombies. But quiet and lovely are exactly the words I’d use to describe Station Eleven, the post-apocalyptic novel from Emily St. John Mandel that is happily missing all the above and shows the modern world ending with neither a bang nor a whimper, but with a gentle murmur.Mandel’s chosen method of ending the world is the Georgia Flu, an incredibly virulent bug that wipes out 95+ percent of its victims within a span of 48 hours. In true form for the eventual tone and shape of the novel, though, Mandel opens not with a mass of deaths but instead with one very singular, very hushed one: famed movie star Arthur Leander, who dies of a heart attack on stage while performing King Lear in Toronto. A young EMT in the audience, Jeevan, first tries to resuscitate Arthur, and then, when the ambulance crew takes over, has an few moments of awkwardly trying to comfort the young child actress, Kirsten, who saw the whole thing. It is while Jeevan is walking home, his girlfriend having abandoned him at the theater, that one of his friends from the city hospital calls to warn him of the flu currently rampaging through the local hospitals and it is this that saves Jeevan’s life.The story moves back and forth in time. Present time is twenty years after the flu collapsed society—electricity is gone, borders (federal, state, local) are non-existent, travel is by foot or animal, and a group called The Traveling Symphony moves from town to town in the Michigan area, performing Shakespeare and playing concerts. The flashbacks, meanwhile, take us back in time to Arthur’s first starting out as an actor, and though Arthur is dead before the Collapse, it is the relationships he formed in his life that ripple throughout the present-day storyline: his first wife Miranda, his second wife Elizabeth and their son Tyler, his best friend Clark. Even his most flimsy or briefest of relationships—with Kirsten during the King Lear run or with Jeevan, whom he never really “met”—end up weaving in and out of the story, as connections between characters form and fray and form again.Relationships, in fact, is one of the dominant themes in the novel—how do they form, what maintains them, how do they end, and we see all sorts: marriages, affairs, father-son, best friends, siblings, and mentor figures, among others. Many of these have a tragic or elegiac tone to them, as we see marriages fall apart, friendships dwindle away, opportunities wasted. That tone is perfectly suited of course for a post-apocalyptic novel, and it echoes not only through the human relationships but through the descriptions of all the material things that were lost in the collapse:An incomplete list:No more diving into pools of chlorinated water lit green from below. No more ballgames played out under floodlights. No more porch lights with moths fluttering on summer nights . . . No more screens shining in the half-light as people raise their phones above the crowd to take photographs of concert stages. No more concert stages lit by candy-colored halogens, no more electronica, punk, electric guitars . . .There is a sense as well that not only is that world lost, but even the memory of it is fading as well. Kirsten, who was eight at the time, remembers almost nothing of the pre-collapse world, survivor settlements have questions about whether it makes sense to teach those born after the collapse about that no-longer-existent world, even as rumors run from town to town of a Museum of Civilization, a collection of pre-collapse artifacts. It’s a testament to Mandel’s writing that I wanted to see that Museum; she has me missing a world I actually live in, can one even be nostalgic for the present?This lost world theme is mirrored by the eponymous Station Eleven, a beautifully drawn (and lovingly detailed in the novel) comic book set on a space station inhabited by survivors of an alien attack on Earth, who also are split amongst those looking forward and those looking back.All the above sound as if Station Eleven is never anything but dolefully woe-ridden, but this isn’t the case. If we see relationships crumble, we also see them reform or new ones emerge. If there is an entire litany of material objects lost to the new world, Mandel shows as well how some object, some things, remain, moving from person to person or perhaps staying with one for a long, long time. Our attachments to things, our deeply personal, emotional attachment to mere objects, is one of the oddest attributes of humans I’d say, and Mandel does a wonderful job of depicting just that.These objects, like the relationships, weave in and out of the storyline; just as we see how these people ended up together, or apart, we see how this object ended up in this person’s possession, how that one ended up in that person’s. The entire novel is meticulously crafted, the structure a wonderful tracery of such threads, and it was sheer pleasure each time you realized just how the threads connected.There is a plot; it isn’t all relationships and longing. Besides the story of Arthur’s life and the people in it, in the present time there is a more suspenseful, more “typical” post-apocalyptic storyline involving a man known only as The Prophet. The Traveling Symphony, though no fault of their own, end up on the wrong side of the Prophet and his followers. There is danger, gunfire, deaths, disappearances, a journey (quest almost) to the rumored Museum of Civilization. But even working this more usual vein of the genre, Mandel mines it for more unusual material; the typical elements are extremely brief; the atypical ones poignant, moving, and like all else, they fit unerringly into the airtight structure.The prose is beautifully wrought much of the time, lyrical when it should be (as in several inter-chapters such as the list chapter quoted above) and sparsely bare-boned when that is required. Transitions between time and place are smoothly handled. Characterization is deeply rich, but not solely as a matter of page time. Mandel shows herself to be a master of the tiny telling detail as well, as when Miranda, ashamed of her thrift coat jacket in a nice restaurant, “turns her back on the restaurant as she puts it on in an effort to hide the torn lining” or when a very minor character lies about knowing the age of Arthur’s son: “ ‘Seven or eight?’’ The makeup artist knew exactly how old Arthur’s son was, but didn’t want to let on that he read gossip magazines.”Really, there isn’t much of a misstep anywhere here. And I haven’t even mentioned the way art is raised throughout as a major theme—one of the Traveling Symphony’s tag lines being “Survival is insufficient”—or the use of Star Trek (from which that line was taken). Mandel has taken a near-perfectly crafted text in terms of structure and style and imbued it with a haunting depth of feeling and heart. That makes for a winning combination every time. And will probably put this book on my top ten list (though after the past two weeks, I might have to make that a top fifteen). Highly recommended.
252 of 299 people found the following review helpful. Why all the raving reviews? By Cari_Bay I didn’t dislike this book but I didn’t particularly like it either. And I’m really blown away by all the five star ratings it has received. It’s essentially a pre and post-apocalyptic story. A pandemic infects the world and kills 99% of the population. One of the major issues with this book is the meandering timeline. There are two primary storylines (and several subplots) one before the Georgian flu about an aging actor and one after about actress who was alive when the flu struck but only really remembers her life after. The story jumps between various points of the characters’ lives it was often confusing as to where the reader was in the timeline. (And reading this on a Kindle made this problem more pronounced because it’s hard to “flip” back and forth to confirm what year it is or what previously happened.)There were many glimmers of a good story within the book but it bounces around so much and never really comes to fruition. While it did seem a little far-fetched that all of these characters were connected by the actor who dies at the beginning of the book and a comic book series (which sounds more ridiculous than it seems), I was willing to suspend by disbelief. But it was never really all brought together. I got to the end and only thought, “So what?”
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