Orson Card - Maps in a Mirror - The Short Fiction of Orson Scott Card

Was this what the indexer meant by including this poem? Had the indexer also seen this vision?

Maybe, but probably not. It might have been nothing more than the idea of becoming something that made the indexer think of transformation—becoming old, like wrinkly Grandma Posey? Or it might have been a general thought about the spread of humanity through the stars, away from the planet of origin, that made the indexer remember how the poem seemed to tell of rockets that rise up from a planet, drift for a while, then come down to settle on a planet. Who knows what the poem meant to the indexer? Who knows why it occurred to her to link it with his document on that particular phrase?

Then Leyel realized that in his imagination, he was thinking of Deet making that particular connection. There was no reason to think it was her work, except that in his mind she was all the indexers. She had joined them, become one of them, and so when indexing work was being done, she was part of it. That’s what it meant to be part of a community—all its works became, to a degree, your works. All that the indexers did, Deet was a part of it, and therefore Deet had done it.

Again the image of a fabric came to mind, only this time it was a topologically impossible fabric, twisted into itself so that no matter what part of the edge of it you held, you held the entire edge, and the middle, too. It was all one thing, and each part held the whole within it.

But if that was true, then when Deet came to join the library, so did Leyel, because she contained Leyel within her. So in coming here, she had not left him at all. Instead, she had woven him into a new fabric, so that instead of losing something he was gaining.

He was part of all this, because she was, and so if he lost her it would only be because he rejected her.

Leyel covered his eyes with his hands. How did his meandering thoughts about the origin question lead him to thinking about his marriage? Here he thought he was on the verge of profound understanding, and then he fell back into self-absorption.

He cleared away all the references to “Wrinkly Grandma Posey” or “Wrinkle Down a Rosy” or whatever it was, then returned to reading his original document, trying to confine his thoughts to the subject at hand.

Yet it was a losing battle. He could not escape from the seductive distraction of the index. He’d be reading about tool use and technology, and how it could not be the dividing line between human and animal because there were animals that made tools and taught their use to others.

Then, suddenly, the index would have him reading an ancient terror tale about a man who wanted to be the greatest genius of all time, and he believed that the only thing preventing him from achieving greatness was the hours he lost in sleep. So he invented a machine to sleep for him, and it worked very well until he realized that the machine was having all his dreams. Then he demanded that his machine tell him what it was dreaming.

The machine poured forth the most astonishing, brilliant thoughts ever imagined by any man—far wiser than anything this man had ever written during his waking hours. The man took a hammer and smashed the machine, so that he could have his dreams back. But even when he started sleeping again, he was never able to come close to the clarity of thought that the machine had had.

Of course he could never publish what the machine had written—it would be unthinkable to put forth the product of a machine as if it were the work of a man. After the man died—in despair—people found the printed text of what the machine had written, and thought the man had written it and hidden it away. They published it, and he was widely acclaimed as the greatest genius who had ever lived.

This was universally regarded as an obscenely horrifying tale because it had a machine stealing part of a man’s mind and using it to destroy him, a common theme. But why did the indexer refer to it in the midst of a discussion of tool-making?

Wondering about that led Leyel to think that this story itself was a kind of tool. Just like the machine the man in the story had made. The storyteller gave his dreams to the story, and then when people heard it or read it, his dreams—his nightmares—came out to live in their memories. Clear and sharp and terrible and true, those dreams they received. And yet if he tried to tell them the same truths, directly, not in the form of a story, people would think his ideas were silly and small.

And then Leyel remembered what Deet had said about how people absorb stories from their communities and take them into themselves and use these stories to form their own spiritual autobiography. They remember doing what the heroes of the stories did, and so they continue to act out each hero’s character in their own lives, or, failing that, they measure themselves against the standard the story set for them. Stories become the human conscience, the human mirror.

Again, as so many other times, he ended these ruminations with his hands pressed over his eyes, trying to shut out—or lock in?—images of fabrics and mirrors, worlds and atoms, until finally, finally, he opened his eyes and saw Deet and Zay sitting in front of him.

No, leaning over him. He was on a low bed, and they knelt beside him.

“Am I ill?” he asked.

“I hope not,” said Deet. “We found you on the floor. You’re exhausted, Leyel. I’ve been telling you—you have to eat, you have to get a normal amount of sleep. You’re not young enough to keep up this work schedule.”

“I’ve barely started.”

Zay laughed lightly. “Listen to him, Deet. I told you he was so caught up in this that he didn’t even know what day it was.”

“You’ve been doing this for three weeks, Leyel. For the last week you haven’t even come home. I bring you food, and you won’t eat. People talk to you, and you forget that you’re in a conversation, you just drift off into some sort of—trance. Leyel, I wish I’d never brought you here, I wish I’d never suggested indexing—”

“No!” Leyel cried. He struggled to sit up.

At first Deet tried to push him back down, insisting he should rest. It was Zay who helped him sit. “Let the man talk,” she said. “Just because you’re his wife doesn’t mean you can stop him from talking.”

“The index is wonderful,” said Leyel. “Like a tunnel opened up into my own mind. I keep seeing light just that far out of reach, and then I wake up and it’s just me alone on a pinnacle except for the pages up on the lector. I keep losing it—”

“No, Leyel, we keep losing you. The index is poisoning you, it’s taking over your mind—”

“Don’t be absurd, Deet. You’re the one who suggested this, and you’re right. The index keeps surprising me, making me think in new ways. There are some answers already.”

“Answers?” asked Zay.

“I don’t know how well I can explain it. What makes us human. It has to do with communities and stories and tools and—it has to do with you and me, Deet.”

“I should hope we’re human,” she said. Teasing him, but also urging him on.

“We lived together all those years, and we formed a community—with our children, till they left, and then just us. But we were like animals.”

“Only sometimes,” she said.

“I mean like herding animals, or primate tribes, or any community that’s bound together only by the rituals and patterns of the present moment. We had our customs, our habits. Our private language of words and gestures, our dances, all the things that flocks of geese and hives of bees can do.”

“Very primitive.”

“Yes, that’s right, don’t you see? That’s a community that dies with each generation. When we die, Deet, it will all be gone with us. Other people will marry, but none of them will know our dances and songs and language and—”