In the first years of the twenty-first century, a number of American authors2 have set out to discover (using environmental disasters, pandemics, nuclear wars, massive failures of technology, or fossil fuel scarcity) what would define humanity if societies and civilizations were to collapse in a planetary crisis. While most of these texts focus on the immediate aftermath of civilization’s collapse, Emily St. John Mandel’s Station Eleven depicts survivors of a pandemic catastrophe trying, twenty years later, to cope with a new reality. In a world with no borders or countries, the Traveling Symphony, a group of musicians and actors, brings music and plays to scattered settlements in a humanist endeavor. At the same time, in what used to be an airport, a former corporate consultant painstakingly curates the Museum of Civilization, which tries to pass down a sense of shared culture with its collection of donated, useless remnants of technology (credit cards, smartphones, laptops) and assorted objects found in abandoned baggage. The novel emphasizes the resilience of cultural objects in a brave new world where Shakespeare and obscure science fiction comics apparently coexist in terms of cultural importance. The troupe’s motto, “Survival is not enough,” stresses the importance of a renewed idea of culture in defining what is human. While in other postapocalyptic texts humanity is defined through individual moral choices—such as those made by the ones “carrying the fire” in Cormac McCarthy’s 2006 The Road—Station Eleven suggests that, were humans to survive such an unprecedented crisis, the only hope to escape being feralized lies in a communal, continuous effort to recreate culture. Station Eleven stands out as a rare, hopeful postapocalyptic text, underlining the importance of art and culture for our species and the deeply moral individual and communal choices necessary to recover from crisis by practicing and conserving culture. Station Eleven was nominated in 2014 for the National Book Award, and it was also a finalist for the PEN/Faulkner Award. While it did not receive either of these awards, it did win the Arthur C. Clarke Award, one of the

中文翻译：

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世界末日策展：艾米莉·圣·约翰·曼德尔第十一车站的文化危机与艺术的持久性

在二十一世纪的头几年，许多美国作家[2]着手发现（利用环境灾难，大流行，核战争，技术的重大失败或化石燃料的匮乏）如果社会和文明是人类的话，那对人类的定义将是什么？在一场星球危机中崩溃。尽管这些文字大部分都集中在文明崩溃的直接后果上，但艾米丽·圣·约翰·曼德尔的《十一号车站》描绘了一场大流行灾难的幸存者，二十年后他试图应对新的现实。在一个无国界或无国界的世界中，一群音乐家和演员组成的旅行交响曲以人文主义的努力将音乐和戏剧带到分散的定居点。同时，在过去的机场中，一位前公司顾问精心策划了文明博物馆，该公司通过收集捐赠的，无用的技术残余物（信用卡，智能手机，笔记本电脑）以及在废弃行李中发现的各种物品，试图传达一种共享文化的意识。小说强调了在一个勇敢的新世界中文物的复原力，在这一新世界中，莎士比亚和晦涩的科幻漫画在文化重要性方面显然并存。该团的座右铭是“生存还不够”，它强调了一种新的文化观念对界定人类的重要性。在其他世界末日的著作中，人性是通过个人的道德选择来定义的，例如科马克·麦卡锡（Cormac McCarthy）在2006年的《道路》（The Road）中“扛着火的人”做出的选择，十一人站着，人类要生存于如此空前的危机中，唯一的希望就是逃离被野蛮的谎言在于一个社区，不断努力重建文化。十一号站是一本罕见的，充满希望的世界末日文字，突显了艺术和文化对我们物种的重要性，以及通过实践和保护文化从危机中恢复过来所必需的深刻道德和个人选择。《十一号车站》在2014年获得了“国家图书奖”提名，并且还是“笔会/福克纳奖”的决赛入围者。尽管它没有获得这两个奖项，但确实获得了亚瑟·克拉克奖（Arthur C. Clarke Award），这是 而且它还是PEN / Faulkner奖的决赛入围者。尽管它没有获得这两个奖项，但确实获得了亚瑟·克拉克奖（Arthur C. Clarke Award），这是 而且它还是PEN / Faulkner奖的决赛入围者。尽管它没有获得这两个奖项，但确实获得了亚瑟·克拉克奖（Arthur C. Clarke Award），这是