After all, we don’t really want most of humanity to die, horribly, alone and in despair we certainly don’t want that for our loved ones. Of course, we don’t want to look too closely at the fantasy element of the story. We try to work less, spend time with our loved ones, and reconnect with the things that “really matter.” During the pandemic, how many of us re-evaluated our lives? How many of us learned to see our commutes as obscene and immoral infringements on our wild and precious lives? How many jaundiced eyes now look at their 9-to-5 grinds - or, more frequently, their app-enabled gigs - and wonder if maybe the soft animal of our bodies might want something else? It’s easy to understand the attraction of this kind of story: think how much time we spend in our day to day lives trying to wean ourselves off the devices and logistics that make the modern world what it is.
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Once you get past all the death, it’s not too shabby. After the unpleasantness of a flu that kills 99 percent of humanity, Station Eleven tells the story of the survivors and the communities they find and rebuild, a post-capitalist utopia where you can live in tents, party, and do art. This is the long-running fantasy of “ the Quiet Earth,” a genre staple in which an apocalyptic event creates the space for the survivors to build the kind of frontier utopia that modern society won’t allow.
![station eleven station eleven](https://i.harperapps.com/covers/9781443434881/y648.jpg)
John Mandel’s novel and Patrick Somerville’s HBO miniseries - is the suspicion that life might be better if society, as we know it, was wiped out.
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The basic appeal of a pastoral apocalypse like Station Eleven - both Emily St.