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

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Maps in a Mirror For the hundreds of thousands who are newly come to Card, here is chance to experience the wonder of a writer so versatile that he can handle everything from traditional narrative poetry to modern experimental fiction with equal ease and grace. The brilliant story-telling of the Alvin Maker books is no accident; the breathless excitement evoked by the Ender books is not a once-in-a-lifetime experience.
In this enormous volume are forty-six stories, plus ten long, intensely personal essays, unique to this volume. In them the author reveals some of his reasons and motivations for writing, with a good deal of autobiography into the bargain.
THE SHORT FICTION OF ORSON SCOTT CARD brings together nearly all of Card’s stories, from his first publications in 1977 to work as recent as last year. For those readers who have followed this remarkable talent since the beginning, here are all those amazing stories gathered together in one place, with some extra surprises as well. For the hundreds of thousands who are newly come to Card, here is a chance to experience the wonder of a writer so talented, so versatile that he can handle everything from traditional narrative poetry to modern experimental fiction with equal ease and grace. The brilliant story-telling of the Alvin Maker books is no accident; the breathless excitement evoked by ENDER’S GAME is riot a once-in-a-lifetime experience.
In this enormous volume are 46 stories, broken into five books: Ten fables and fantasies, fairy tales that sometimes tell us truths about ourselves; eleven tales of dread—and commentary that explains why dread is a much scarier emotion than horror; seven tales of human futures—science fiction from a master of extrapolation and character; six tales of death, hope, and holiness, where Card explores the spiritual side of human nature; and twelve lost songs.
The Lost Songs are a special treat for readers of this hardcover volume, for here are gathered tales which will not see print again. Here are Card’s stories written for Mormon children, a pair that were published in small literary magazines, a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works. First, there is the original novella-length version of Card’s Hugo and Nebula Award-winning novel, ENDER’S GAME. Then there is “Mikal’s Songbird”, which was the seed of the novel SONGMASTER; “Mikal’s Songbird” will never be published again. And finally, the narrative poem “Prentice Alvin and the No-Good Plow”—here is the original inspiration for the Alvin Maker series, an idea so powerful that it could not be contained in a single story, or a hundred lines of verse, but is growing to become the most original American fantasy ever written.
MAPS IN A MIRROR is not just a collection of stories, however complete. This comprehensive collection also contains nearly a whole book’s worth of
material. Each section begins and ends with long, intensely personal introductions and afterwords; here the author reveals some of his reasons and motivations for writing what he writes—and a good deal of autobiography into the bargain.
ORSON SCOTT CARD grew up in Utah and attended Brigham Young University, where he studied drama. Card’s early writing career was devoted to plays; he had his own theater company, which was successful for a number of years. Card spent his missionary years in Brazil, learning to speak fluent Portuguese. He now lives in Greensboro, North Carolina, with his wife and three children. From book flaps:

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Christian raised an eyebrow, making a shrugging motion.

“Sugar was a guy who worked on a road crew and made up songs. He’s dead now, though,” the boy answered.

“Best damn songs in the world,” another boy said, and they all nodded.

Christian smiled. Then he wrote (and the boys waited impatiently for this speechless old man to go away): “Aren’t you happy? Why sing sad songs?”

The boys were at a loss for an answer. The leader spoke up, though, and said, “Sure I’m happy. I’ve got a good job, a girl I like, and man, I couldn’t ask for more. I got my guitar. I got my songs. And my friends.”

And another boy said, “These songs aren’t sad, Mister. Sure, they make people cry, but they aren’t sad.”

“Yeah,” said another. “It’s just that they were written by a man who knows.”

Christian scribbled on his paper. “Knows what?”

“He just knows. Just knows, that’s all. Knows it all.”

And then the teenagers turned back to their clumsy guitars and their young, untrained voices, and Christian walked to the door to leave because the rain had stopped and because he knew when to leave the stage. He turned and bowed just a little toward the singers. They didn’t notice him, but their voices were all the applause he needed. He left the ovation and went outside where the leaves were just turning color and would soon, with a slight inaudible sound, break free and fall to the earth.

For a moment he thought he heard himself singing. But it was just the last of the wind, coasting madly through the wires over the street. It was a frenzied song, and Christian thought he recognized his voice.

A CROSS-COUNTRY TRIP TO KILL RICHARD NIXON

Siggy wasn’t the killer type. Nor did he have delusions of grandeur. In fact, if he had any delusions, they were delusions of happiness. When he was thirty, he gave up a good job as a commercial artist and went down in the world, deliberately downward in income, prestige, and tension. He bought a cab.

“Who is going to drive this cab, Siggy?” his mother asked. She was a German of the old school, well-bred with contempt for the servant class.

“I am,” Siggy answered mildly. He endured the tirade that followed, but from then on his sole source of income was the cab. He didn’t work every day. But whenever he felt like working or getting out of the apartment or picking up some money, he would take his cab out in Manhattan. His cab was spotless. He gave excellent service. He enjoyed himself immensely. And when he came home, he sat down at the easel or with a sketchpad on his knees, and did art. He wasn’t very good. His talents had been best suited for commercial art. Anything more difficult than the back of a Cheerios box, and Siggy was out of his element. He never sold any of his paintings. But he didn’t really care. He loved everything he did and everything he was.

So did his wife, Marie. She was French, he was German; they married and moved to America on the eve of World War II, bringing their families with them, and they were exquisitely well matched and happy through both of Siggy’s careers. In 1978, at the age of fifty-seven, she died of a heart attack, and Siggy took the cab out and drove for eleven hours without picking up a single fare. At four o’clock in the morning, he finally made his decision and drove home. He would go on living. And sooner than he expected, he was happy again.

He had never dreamed of conquering the world or of getting rich or even of getting into bed with a movie star or a high-class prostitute. So it was not in his nature to imagine himself doing impossible things. It took him rather by surprise when he was onsen to save America.

She was a Disney fairy godmother, and she came in the craziest dream he had ever had. “You, Siegfried Reinhardt, are the lucky winner of exactly one wish,” she said, sounding like the lady from Magic Carpet Land the last time she called to offer a free carpet cleaning.

“One?” Siggy answered in his dream, thinking this was rather below standard for godmothers.

“And you have a choice,” the fairy godmother answered. “You may either use the wish on your own behalf, or you may use it to save America.”

“America’s going to hell and needs all the wishes it can get.” Siggy said. “On the other hand, I don’t really need anything I haven’t got already. So it’s America.”

“Very well,” she answered, and turned to go.

“Wait a minute,” he said in his dream. “Is that all?”

“You asked for a wish for America, you get a wish for America. Which is a waste of a perfectly good wish, if you ask me, for thirty years America hasn’t been worth scheisse. Try not to mess things up too badly, Siggy. This wish business is pretty complicated, and you’re a simple type fellow.” And then she was gone, and Siggy woke up, the dream impressed on his memory as dreams so rarely were.

Crazy, crazy, he thought, laughing it off. I’m getting old, Marie dragged me to too many Disney movies, I’m too lonely. But for all that he knew the dream was nonsense, he could not forget it.

I mean, what if, he told himself. What if I had a wish. Just one thing I could change, to make everybody in America happier. What would it be?

“What’s wrong with America?” his mother asked, rolling her eyes and rocking back and forth in her wheelchair. To Siggy’s knowledge she had never had a rocking chair in her life, and compensated by moving in every other kind of chair as if it were a rocker. “Everything’s wrong with America,” she said.

“But one thing, Mother. Just the worst thing to fix.”

“It’s too late, nothing can fix it. It all started with him. If there is such a thing as reincarnation, may he be reincarnated as a fly that I can swat. May he come back as a fire hydrant for all the dogs to pee against.” Siggy’s mother was impeccably polite in German, but in English she was crude, and, as so often before, Siggy wondered why she still lingered on at a ridiculous ninety-two when Marie, who was delicate and sensitive, was dead. “Don’t be crude, Mother.”

“I’m an American, I have the papers, I can be crude. Nineteen sixty-eight, that’s when everything went to Hell.”

“You can’t blame everything on one man.”

“What do you know? You drive a cab.”

“One man doesn’t make that big a difference.”

“What about Adolf Hitler!” his mother said triumphantly, slapping the arms of the wheelchair and rocking back and forth. “Adolf Hitler! One man! Just like Richard Nixon, may his electric razor short-circuit and fry his face.”

She was still laughing and cursing Nixon when Siggy finally left. Fairy godmother, he said to himself. What do I need a fairy godmother for? I have Mom.

But the dream wouldn’t go away. The fairy godmother kept flitting in and out, hovering on the edges of all his dreams, wordlessly saying, “Hurry and make up your mind, Siggy. Fairy godmothers are busy, you’re wasting my time.”

“Don’t push me,” he said. “I’m being careful.”

“I’ve got other clients, give me a break.”

“I resent being pushed around by figments of my imagination,” he said. “I get one wish, I want to use it right.” When he woke up, he was vaguely embarrassed that he was taking the fairy godmother so seriously in his dreams. “Just a dream,” he said to himself. But dream or not, he started doing research.

He took a poll. He kept a notebook beside him in the cab, and asked people, “Just out of curiosity what’s the worst thing wrong with America? What’s the one thing you’d change if you could?”

There were quite a few suggestions, but they always came back to Richard Nixon. “It all started with Nixon,” they’d say. Or, “It’s Carter. But if it hadn’t been for Nixon, Carter would never have been elected.”

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