The book, a post-apocalyptic tale that weaves back and forth in time as it follows the fate of several characters while also exploring the sustaining power of art, has racked up a litany of accolades.
A finalist for both the National Book Award and the PEN/Faulkner, it was picked as one of the Favorite of Favorites by LibraryReads, and made multiple best books of the year lists including Entertainment Weekly’s which selected it as their #1 pick.
As we reported, George R.R. Martin is on the bandwagon too, lobbying fans to support it for the Hugo award.
The genre categorization doesn’t sit well with Mandel. Responding to a review in the Washington Post’s “Science Fiction and Fantasy” column she told Ron Charles,
I was surprised to discover that if you write literary fiction that’s set partly in the future, you’re apparently a sci-fi writer … my only objection to these categories is that when you have a book like mine that doesn’t fit neatly into any category, there’s a real risk that readers who only read “literary fiction” won’t pick it up because they think they couldn’t possibly like sci-fi, while sci-fi readers will pick up the book based on the sci-fi categorization, and then be disappointed because the book isn’t sci-fi enough.
On the other hand, this offers readers advisors an opportunity to use Station Eleven to expand both SF and literary readers’ horizons.
Check your holds, they are heavy in some libraries and trade paperback edition is scheduled for June 2,