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.
Look for Emily St. John Mandel’s bestselling new novel, Sea of Tranquility!
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.
Look for Emily St. John Mandel’s bestselling new novel, Sea of Tranquility!
Reviews-
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June 23, 2014
Few themes are as played-out as that of post-apocalypse, but St. John Mandel (The Lola Quartet) finds a unique point of departure from which to examine civilization’s wreckage, beginning with a performance of King Lear cut short by the onstage death of its lead, Arthur Leander, from an apparent heart attack. On hand are an aspiring paramedic, Jeevan Chaudary, and a young actress, Kirsten Raymonde; Leander’s is only the first death they will witness, as a pandemic, the so-called Georgia Flu, quickly wipes out all but a few pockets of civilization. Twenty years later, Kirsten, now a member of a musical theater troupe, travels through a wasteland inhabited by a dangerous prophet and his followers. Guided only by the graphic novel called Station Eleven given to her by Leander before his death, she sets off on an arduous journey toward the Museum of Civilization, which is housed in a disused airport terminal. Kirsten is not the only survivor with a curious link to the actor: the story explores Jeevan’s past as an entertainment journalist and, in a series of flashbacks, his role in Leander’s decline. Also joining the cast are Leander’s first wife, Miranda, who is the artist behind Station Eleven, and his best friend, 70-year-old Clark Thompson, who tends to the terminal settlement Kirsten is seeking. With its wild fusion of celebrity gossip and grim future, this book shouldn’t work nearly so well, but St. John Mandel’s examination of the connections between individuals with disparate destinies makes a case for the worth of even a single life. -
Starred review from July 1, 2014
Survivors and victims of a pandemic populate this quietly ambitious take on a post-apocalyptic world where some strive to preserve art, culture and kindness.In her fourth novel, Mandel (The Lola Quartet, 2012, etc.) moves away from the literary thriller form of her previous books but keeps much of the intrigue. The story concerns the before and after of a catastrophic virus called the Georgia Flu that wipes out most of the world's population. On one side of the timeline are the survivors, mainly a traveling troupe of musicians and actors and a stationary group stuck for years in an airport. On the other is a professional actor, who dies in the opening pages while performing King Lear, his ex-wives and his oldest friend, glimpsed in flashbacks. There's also the man-a paparazzo-turned-paramedic-who runs to the stage from the audience to try to revive him, a Samaritan role he will play again in later years. Mandel is effectively spare in her depiction of both the tough hand-to-mouth existence of a devastated world and the almost unchallenged life of the celebrity-think of Cormac McCarthy seesawing with Joan Didion. The intrigue arises when the troupe is threatened by a cult and breaks into disparate offshoots struggling toward a common haven. Woven through these little odysseys, and cunningly linking the cushy past and the perilous present, is a figure called the Prophet. Indeed, Mandel spins a satisfying web of coincidence and kismet while providing numerous strong moments, as when one of the last planes lands at the airport and seals its doors in self-imposed quarantine, standing for days on the tarmac as those outside try not to ponder the nightmare within. Another strand of that web is a well-traveled copy of a sci-fi graphic novel drawn by the actor's first wife, depicting a space station seeking a new home after aliens take over Earth-a different sort of artist also pondering man's fate and future.Mandel's solid writing and magnetic narrative make for a strong combination in what should be a breakout novel.COPYRIGHT(2014) Kirkus Reviews, ALL RIGHTS RESERVED.
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Starred review from August 1, 2014
Mandel's (The Lola Quartet, 2012) ambitious, magnificent fourth novel examines the collapse of civilization after a deadly flu wipes out most of the world's population. Moving gracefully from the first days of the plague to years before it and decades after, Mandel anchors the story to Arthur Leander, a famous actor who dies of a heart attack while playing King Lear on stage. We see glimpses of Arthur's life years before his passing: his doomed relationship with his first wife, the exploitation of an old friendship, his failings as a father. And then we follow characters whose lives Arthur touched in some way: the paramedic who tried to save him, his second ex-wife and their damaged son, the child actress who joins a traveling theater troupe-cum-orchestra. In this postpandemic time, people live in gas stations and motels, curate museums filled with cell phones and car engines, and treasure tabloids and comic books. One comic book gives the novel its title and encapsulates the longing felt by the survivors for the world they have lost.Mandel's vision is not only achingly beautiful but also startlingly plausible, exposing the fragile beauty of the world we inhabit. In the burgeoning postapocalyptic literary genre, Mandel's transcendent, haunting novel deserves a place alongside The Road (2006), The Passage (2010), and The Dog Stars (2012).(Reprinted with permission of Booklist, copyright 2014, American Library Association.) -
Starred review from September 1, 2014
Onstage at a Toronto theater, an aging movie star drops dead while performing the title role in King Lear. As the other cast members share a drink at the lobby bar before heading into the snowy night, none can know what horrors await them: "Of all of them at the bar that night, the bartender was the one who survived the longest. He died three weeks later on the road out of the city." The Shakespearean tragedy unfolds into a real-life calamity just before the entire world is overtaken by a catastrophic flu pandemic that will kill off the vast majority of the population. The narrative is organized around several figures present at the theater that night, and the tale travels back and forth in time, from the years before the pandemic through the following 20 years in a world without government, electricity, telecommunications, modern medicine, or transportation. In this lawless and dangerous new reality, a band of actors and musicians performs Shakespeare for the small communities that have come into existence in the otherwise abandoned landscape. In this unforgettable, haunting, and almost hallucinatory portrait of life at the edge, those who remain struggle to retain their basic humanity and make connections with the vanished world through art, memory, and remnants of popular culture. VERDICT This is a brilliantly constructed, highly literary, postapocalyptic page-turner, and should be a breakout novel for Mandel. [See Prepub Alert, 3/24/14.]--Lauren Gilbert, Sachem P.L., Holbrook, NY
Copyright 2014 Library Journal, LLC Used with permission.
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September 1, 2014
Onstage at a Toronto theater, an aging movie star drops dead while performing the title role in King Lear. As the other cast members share a drink at the lobby bar before heading into the snowy night, none can know what horrors await them: "Of all of them at the bar that night, the bartender was the one who survived the longest. He died three weeks later on the road out of the city." The Shakespearean tragedy unfolds into a real-life calamity just before the entire world is overtaken by a catastrophic flu pandemic that will kill off the vast majority of the population. The narrative is organized around several figures present at the theater that night, and the tale travels back and forth in time, from the years before the pandemic through the following 20 years in a world without government, electricity, telecommunications, modern medicine, or transportation. In this lawless and dangerous new reality, a band of actors and musicians performs Shakespeare for the small communities that have come into existence in the otherwise abandoned landscape. In this unforgettable, haunting, and almost hallucinatory portrait of life at the edge, those who remain struggle to retain their basic humanity and make connections with the vanished world through art, memory, and remnants of popular culture. VERDICT This is a brilliantly constructed, highly literary, postapocalyptic page-turner, and should be a breakout novel for Mandel. [See Prepub Alert, 3/24/14.]--Lauren Gilbert, Sachem P.L., Holbrook, NY
Copyright 2014 Library Journal, LLC Used with permission.
- George R. R. Martin "Deeply melancholy, but beautifully written, and wonderfully elegiac . . . A book that I will long remember, and return to."
- Joshua Rothman, The New Yorker "Last month, when the fiction finalists for the National Book Awards were announced, one stood out from the rest: Station Eleven by Emily St. John Mandel . . . Station Eleven is set in a familiar genre universe, in which a pandemic has destroyed civilization. The twist--the thing that makes Station Eleven National Book Award material--is that the survivors are artists . . . 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 . . . It brings together these different fictional genres and the values--observation, feeling, erudition--to which they're linked. . . Instead of being compressed, it blossoms."
- Janet Maslin, The New York Times "Spine-tingling . . . Ingenious . . . Ms. Mandel gives the book some extra drama by positioning some of her characters near the brink of self-discovery as disaster approaches. The plague hits so fast that it takes them all by surprise . . . Ms. Mandel is able to tap into the poignancy of lives cut short at a terrible time -- or, in one case, of a life that goes on long after wrongs could be righted."
- Karen Joy Fowler, author of We Are All Completely Beside Ourselves "My book of the year is Station Eleven by Emily St. John Mandel. I chose this book, because it surprised me. I've read a number of post-apocalyptic novels over the years and most of them are decidedly ungenerous toward humans and their brutishness. Station Eleven has their same sense of danger and difficulty, but still reads as more of a love letter -- acknowledging all those things we would most miss and all those things we would still have."
- NPR.org "This book isn't exactly a feel-good romp, but for a post-apocalyptic novel, Station Eleven comes remarkably close . . . Emily St. John Mandel delivers a beautifully observed walk through her book's 21st century world, as seen by characters who are grappling with what they've lost and what remains. While I was reading it, I kept putting the book down, looking around me, and thinking, 'Everything is a miracle.'"
- Anthony Domestic, San Francisco Chronicle "So impressive . . . Station Eleven is terrifying, reminding us of how paper-thin the achievements of civilization are. But it's also surprisingly -- and quietly -- beautiful . . . As Emily Dickinson knew and as Mandel reminds us, there's a sumptuousness in destitution, a painful beauty in loss . . . A superb novel. Unlike most postapocalyptic works, it leaves us not fearful for the end of the world but appreciative of the grace of everyday existence."
- Doug Knoop, The Seattle Times "Darkly lyrical . . . An appreciation of art, love and the triumph of the human spirit . . . Mandel effortlessly moves between time periods . . . The book is full of beautiful set pieces and landscapes; big, bustling cities before and during the outbreak, an eerily peaceful Malaysian seashore, and an all-but-abandoned Midwest airport-turned museum that becomes an all important setting for the last third of the book . . . Mandel ties up all the loose ends in a smooth and moving way, giving humanity to all her characters -- both in a world that you might recognize as the one we all live in today (and perhaps take for granted) and a post-apocalyptic world without electricity, smartphones and the Internet. Station Eleven is a truly haunting book, one that is hard to put down and a pleasure to read."
- Amanda Bullock, Vulture "Mandel's spectacular, unmissable new novel is set in a near-future dystopia, after most -- seriously, 99.99 percent -- of the world's population is killed suddenly and swiftly by a flu pandemic. (Have fun riding the subway after this one!) The perspective shifts between a handful of survivors, all connected to a famous actor who died onstage just before the col
