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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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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Finally Bork fell to his knees and wept. He wanted to go on with the fight, but his body could not do it. And the dragon looked as fresh as it had in the morning.

“What?” asked the dragon. “Finished already?”

Then Bork felt the tip of the dragon’s tail touch his back, and the sharp points of the claws pressed gently on either side. He could not bear to look up at what he knew he would see. Yet neither could he bear to wait, not knowing when the blow would come. So he opened his eyes, and lifted his head, and saw.

The dragon’s teeth were nearly touching him, poised to tear his head from his shoulders.

Bork screamed. And screamed again when the teeth touched him, when they pushed into his armor, when the dragon lifted him with teeth and tail and talons until he was twenty feet above the ground. He screamed again when he looked into the dragon’s eyes and saw, not hunger, not hatred, but merely amusement.

And then he found his silence again, and listened as the dragon spoke through clenched teeth, watching the tongue move massively in the mouth only inches from his head.

“Well, little man. Are you afraid?”

Bork tried to think of some heroic message of defiance to hurl at the dragon, some poetic words that might be remembered forever so that his death would be sung in a thousand songs. But Bork’s mind was not quick at such things; he was not that accustomed to speech, and had no ear for gallantry. Instead he began to think it would be somehow cheap and silly to die with a lie on his lips.

“Dragon,” Bork whispered, “I’m frightened.”

To Bork’s surprise, the teeth did not pierce him then. Instead, he felt himself being lowered to the ground, heard a grating sound as the teeth and claws let go of his armor. He raised his visor, and saw that the dragon was now lying on the ground, laughing, rolling back and forth, slapping its tail against the rocks, and clapping its claws together. “Oh, my dear tiny friend,” said the dragon. “I thought the day would never dawn.”

“What day?”

“Today,” answered the dragon. It had stopped laughing, and it once again drew near to Bork and looked him in the eye. “I’m going to let you live.”

“Thank you,” Bork said, trying to be polite.

“Thank me? Oh no, my midget warrior. You won’t thank me. Did you think my teeth were sharp? Not half so pointed as the barbs of your jealous, disappointed friends.”

“I can go?”

“You can go, you can fly, you can dwell in your castle for all I care. Do you want to know why?”

“Yes.”

“Because you were afraid. In all my life, I have only killed brave knights who knew no fear. You’re the first, the very first, who was afraid in that final moment. Now go.” And the dragon gave Bork a push and sent him down the hill.

Brunhilda, who had watched the whole battle in curious silence, now called after him. “Some kind of knight you are! Coward! I hate you! Don’t leave me!” The shouts went on until Bork was out of earshot.

Bork was ashamed.

Bork went down the hill and, as soon as he entered the cool of the forest, he lay down and fell asleep.

Hidden in the rocks, Winkle watched him go, watched as the dragon again began to tickle Brunhilda, whose gown was still open as it had been when she was taken by the dragon. Winkle could not stop thinking of how close he had come to having her. But now, if even Bork could not save her, her cause was hopeless, and Winkle immediately began planning other ways to profit from the situation.

All the plans depended on his reaching the castle before Bork. Since Winkle had dozed off and on during the day’s battle, he was able to go farther—to a village, where he stole an ass and rode clumsily, half-asleep, all night and half the next day and reached the castle before Bork awoke.

The King raged. The King swore. The King vowed that Bork would die.

“But Your Majesty,” said Winkle, “you can’t forget that it is Bork who inspires fear in the hearts of your loyal subjects. You can’t kill him—if he were dead, how long would you be king?”

That calmed the old man down. “Then I’ll let him live. But he won’t have a place in this castle, that’s certain. I won’t have him around here, the coward. Afraid! Told the dragon he was afraid! Pathetic. The man has no gratitude.” And the King stalked from the court.

When Bork got home, weary and sick at heart, he found the gate of the castle closed to him. There was no explanation—he needed none. He had failed the one time it mattered most. He was no longer worthy to be a knight.

And now it was as it had been before. Bork was ignored, despised, feared, he was completely alone. But still, when it was time for great strength, there he was, doing the work of ten men, and not thanked for it. Who would thank a man for doing what he must to earn his bread.

In the evenings he would sit in his hut, staring at the fire that pushed a column of smoke up through the hole in the roof. He remembered how it had been to have friends, but the memory was not happy, for it was always poisoned by the knowledge that the friendship did not outlast Bork’s first failure. Now the knights spat when they passed him on the road or in the fields.

The flames did not let Bork blame his troubles on them, however. The flames constantly reminded him of the dragon’s eyes, and in their dance he saw himself, a buffoon who dared to dream of loving a princess, who believed that he was truly a knight. Not so, not so. I was never a knight, he thought. I was never worthy. Only now am I receiving what I deserve. And all his bitterness turned inward, and he hated himself far more than any of the knights could hate him.

He had made the wrong choice. When the dragon chose to let him go, he should have refused. He should have stayed and fought to the death. He should have died.

Stories kept filtering into the village, stories of the many heroic and famous knights who accepted the challenge of freeing Brunhilda from the dragon. All of them went as heroes. All of them died as heroes. Only Bork had returned alive from the dragon, and with every knight who died Bork’s shame grew. Until he decided that he would go back. Better to join the knights in death than to live his life staring into the flames and seeing the visions of the dragon’s eyes.

Next time, however, he would have to be better prepared. So after the spring plowing and planting and lambing and calving, where Bork’s help was indispensable to the villagers, the giant went to the castle again. This time no one barred his way, but he was wise enough to stay as much out of sight as possible. He went to the one-armed swordmaster’s room. Bork hadn’t seen him since he accidentally cut off his arm in sword practice years before.

“Come for the other arm, coward?” asked the swordmaster.

“I’m sorry,” Bork said. “I was younger then.”

“You weren’t any smaller. Go away.”

But Bork stayed, and begged the swordmaster to help him. They worked out an arrangement. Bork would be the swordmaster’s personal servant all summer, and in exchange the swordmaster would try to teach Bork how to fight.

They went out into the fields every day, and under the swordmaster’s watchful eye he practiced sword-fighting with bushes, trees, rocks—anything but the swordmaster, who refused to let Bork near him. Then they would return to the swordmaster’s rooms, and Bork would clean the floor and sharpen swords and burnish shields and repair broken practice equipment. And always the swordmaster said, “Bork, you’re too stupid to do anything right!” Bork agreed. In a summer of practice, he never got any better, and at the end of the summer, when it was time for Bork to go out in the fields and help with the harvest and the preparations for winter, the swordmaster said, “It’s hopeless, Bork. You’re too slow. Even the bushes are more agile than you. Don’t come back. I still hate you, you know.”

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