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NATIONAL BESTSELLER • An audacious, darkly glittering novel set in the eerie days of civilization’s collapse—the spellbinding story of a Hollywood star, his would-be savior, and a nomadic group of actors roaming the scattered outposts of the Great Lakes region, risking everything for art and humanity. Now an original series on HBO Max. Over one million copies sold! 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!
NATIONAL BESTSELLER • An audacious, darkly glittering novel set in the eerie days of civilization’s collapse—the spellbinding story of a Hollywood star, his would-be savior, and a nomadic group of actors roaming the scattered outposts of the Great Lakes region, risking everything for art and humanity. Now an original series on HBO Max. Over one million copies sold! 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!
בשל מגבלות הוצאה לאור, הספר הזה בפורמט קינדל לא יכול להיות מועבר באופן אלחוטי ויש להורידו ולהעבירו באמצעות USB.
עקב הגבלות המוציא לאור הספריה אינה יכולה לרכוש עותקים נוספים של הכותר, אנו מתנצלים אם יש רשימת המתנה ארוכה. וודא שבדקת עותקים אחרים, מכיוון שיכולות להיות מהדורות אחרות זמינות.
Jeevan’s understanding of disaster preparedness was based entirely on action movies, but on the other hand, he’d seen a lot of action movies. He started with water, filled one of the oversized shopping carts with as many cases and bottles as he could fit. There was a moment of doubt on the way to the cash registers, straining against the weight of the cart—was he overreacting?—but there was a certain momentum now, too late to turn back. The clerk raised an eyebrow but said nothing.
“I’m parked just outside,” he said. “I’ll bring the cart back.” The clerk nodded, tired. She was young, early twenties probably, with dark bangs that she kept pushing out of her eyes. He forced the impossibly heavy cart outside and half-pushed, half-skidded through the snow at the exit. There was a long ramp down into a small park-like arrangement of benches and planters. The cart gained speed on the incline, bogged down in deep snow at the bottom of the ramp and slid sideways into a planter.
It was eleven twenty. The supermarket closed in forty minutes. He was imagining how long it would take to bring the cart up to Frank’s apartment, to unload it, the time required for tedious explanations and reassurances of sanity before he could return to the grocery store for more supplies. Could there be any harm in leaving the cart here for the moment? There was no one on the street. He called Hua on his way back into the store.
“What’s happening now?” He moved quickly through the store while Hua spoke. Another case of water—Jeevan was under the impression that one can never have too much—and then cans and cans of food, all the tuna and beans and soup on the shelf, pasta, anything that looked like it might last a while. The hospital was full of flu patients and the situation was identical at the other hospitals in the city. The ambulance service was overwhelmed. Thirty-seven patients had died now, including every patient who’d been on the Moscow flight and two E.R. nurses who’d been on duty when the first patients came in. The shopping cart was almost unmanageably heavy. Hua said he’d called his wife and told her to take the kids and leave the city tonight, but not by airplane. Jeevan was standing by the cash register again, the clerk scanning his cans and packages. The part of the evening that had transpired in the Elgin Theatre seemed like possibly a different lifetime. The clerk was moving very slowly. Jeevan passed her a credit card and she scrutinized it as though she hadn’t just seen it five or ten minutes ago.
“Take Laura and your brother,” Hua said, “and leave the city tonight.”
“I can’t leave the city tonight, not with my brother. I can’t rent a wheelchair van at this hour.”
In response there was only a muffled sound. Hua was coughing.
“Are you sick?” Jeevan was pushing the cart toward the door.
“Goodnight, Jeevan.” Hua disconnected and Jeevan was alone in the snow. He felt possessed. The next cart was all toilet paper. The cart after that was more canned goods, also frozen meat and aspirin, garbage bags, bleach, duct tape.
“I work for a charity,” he said to the girl behind the cash register, his third or fourth time through, but she wasn’t paying much attention to him. She kept glancing up at the small television above the film development counter, ringing his items through on autopilot. Jeevan called Laura on his sixth trip through the store, but his call went to voicemail....
על המחבר-
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.
ביקורות-
Ann Patchett
"Station Eleven is so compelling, so fearlessly imagined, that I wouldn't have put it down for anything."
Sigrid Nunez, New York Times Book Review
"Emily St. John Mandel's fourth novel, Station Eleven, begins with a spectacular end. One night in a Toronto theater, onstage performing the role of King Lear, 51-year-old Arthur Leander has a fatal heart attack. There is barely time for people to absorb this shock when tragedy on a considerably vaster scale arrives in the form of a flu pandemic so lethal that, within weeks, most of the world's population has been killed . . . Mandel is an exuberant storyteller . . . Readers will be won over by her nimble interweaving of her characters' lives and fates . . . Station Eleven is as much a mystery as it is a post-apocalyptic tale . . . Mandel is especially good at planting clues and raising the kind of plot-thickening questions that keep the reader turning pages . . . Station Eleven offers comfort and hope to those who believe, or want to believe, that doomsday can be survived, that in spite of everything people will remain good at heart, and when they start building a new world they will want what was best about the old."
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."
Karen Valby, Entertainment Weekly
"Emily St. John Mandel's tender and lovely new novel, Station Eleven . . . miraculously reads like equal parts page-turner and poem . . . One of her great feats is that the story feels spun rather than plotted, with seamless shifts in time and characters. . . "Because survival is insufficient," reads a line taken from Star Trek spray painted on the Traveling Symphony's lead wagon. The genius of Mandel's fourth novel . . . is that she lives up to those words. This is not a story of crisis and survival. It's one of art and family and memory and community and the awful courage it takes to look upon the world with fresh and hopeful eyes."
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."
Nancy Hightower, The Washington Post
"In Station Eleven , by Emily St. John Mandel, the Georgia Flu becomes airborne the night Arthur Leander dies during his performance as King Lear. Within months, all airplanes are grounded, cars run out of gas and electricity flickers out as most of the world's population dies. The details of Arthur's life before the flu and what happens afterward to his friends, wives and lovers create a surprisingly beautiful story of human relationships amid such devastation. Among the survivors are Kirsten, a child actor at the time of Arthur's death who lives with no memory of what happened to her the first year after the flu . . . A gorgeous retelling of Lear unfolds through Arthur's flashbacks and Kirsten's attempt to stay alive."
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 surpris
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