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Keith Jones

-dimensional characters in whom we can find ourselves. Station Eleven 25 both fits and transcends its genre. Emily St. John Mandel has written a profound work that uses the idea of a post-apocalyptic world to transcend the genre of post-apocalyptic novel completely

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‘All the world's a [post-apocalyptic] stage’

The Future of Shakespeare in Emily St. John Mandel's Station Eleven

Charles Conaway

’, National Public Radio , 20 June 2015, https://www.npr.org/transcripts/415782006 , no pagination. 10 Emily St. John Mandel, Station Eleven (New York: Alfred A. Knopf, 2014), 17. Subsequent page numbers from this source are given in parentheses in the

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Editorial

Shakespeare and the Modern Novel

Graham Holderness

Shakespeare Association of America annual meeting in Los Angeles, 2018, to present and exchange new work on Shakespeare and the modern novel. Charles Conaway discusses Emily St. John Mandel's 2014 novel, Station Eleven , set in a world without electricity

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James Longhurst, Sheila Dwyer, John Lennon, Zhenhua Chen, Rudi Volti, Gopalan Balachandran, Katarina Gephardt, Mathieu Flonneau, Kyle Shelton, and Fiona Wilkie

Mobility Machines Emily St. John Mandel, Station Eleven (London: Picador, 2014), 339 pp., $15.95 Station Eleven , by the Canadian novelist Emily St. John Mandel, is a post-apocalyptic narrative that does not feel like one. That is to say, we have