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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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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“I know,” Bork said, and he went out into the fields, where the peasants waited impatiently for the giant to come carry sheaves of grain to the wagons.

Another winter looking at the fire, and Bork began to realize that no matter how good he got with the sword, it would make no difference. The dragon was not to be defeated that way. If excellent swordplay could kill the dragon, the dragon would be dead by now—the finest knights in the kingdom had already died trying.

He had to find another way. And the snow was still heavy on the ground when he again entered the castle and climbed the long and narrow stairway to the tower room where the wizard lived.

“Go away,” said the wizard, when Bork knocked at his door. “I’m busy.”

“I’ll wait,” Bork answered.

“Suit yourself.”

And Bork waited. It was late at night when the wizard finally opened the door. Bork had fallen asleep leaning on it—he nearly knocked the magician over when he fell inside.

“What the devil are you—you waited!”

“Yes,” said Bork, rubbing his head where it had hit the stone floor.

“Well, I’ll be back in a moment.” The wizard made his way along a narrow ledge until he reached the place where the wall bulged and a hole opened onto the outside of the castle wall. In wartime, such holes were used to pour boiling oil on attackers. In peacetime, they were even more heavily used. “Go on inside and wait,” the wizard said.

Bork looked around the room. It was spotlessly clean, the walls were lined with books, and here and there a fascinating artifact hinted at hidden knowledge and arcane powers—a sphere with the world on it, a skull, an abacus, beakers and tubes, a clay pot from which smoke rose, though there was no fire under it. Bork marvelled until the wizard returned.

“Nice little place, isn’t it?” the wizard asked. “You’re Bork, the bully, aren’t you?”

Bork nodded.

“What can I do for you?”

“I don’t know,” Bork asked. “I want to learn magic. I want to learn magic powerful enough that I can use it to fight the dragon.”

The wizard coughed profusely.

“What’s wrong?” Bork asked.

“It’s the dust,” the wizard said.

Bork looked around and saw no dust. But when he sniffed the air, it felt thick in his nose, and a tickling in his chest made him cough, too.

“Dust?” asked Bork. “Can I have a drink?”

“Drink,” said the wizard. “Downstairs—”

“But there’s a pail of water right here. It looks perfectly clean—”

“Please don’t—”

But Bork put the dipper in the pail and drank. The water sloshed into his mouth, and he swallowed, but it felt dry going down, and his thirst was unslaked. “What’s wrong with the water?” Bork asked.

The wizard sighed and sat down. “It’s the problem with magic, Bork old boy. Why do you think the King doesn’t call on me to help him in his wars? He knows it, and now you’ll know it, and the whole world probably will know it by Thursday.”

“You don’t know any magic?”

“Don’t be a fool! I know all the magic there is! I can conjure up monsters that would make your dragon look tame! I can snap my fingers and have a table set with food to make the cook die of envy. I can take an empty bucket and fill it with water, with wine, with gold—whatever you want. But try spending the gold, and they’ll hunt you down and kill you. Try drinking the water and you’ll die of thirst.”

“It isn’t real.”

“All illusion. Handy, sometimes. But that’s all. Can’t create anything except in your head. That pail, for instance—” And the wizard snapped his fingers. Bork looked, and the pail was filled, not with water, but with dust and spider webs. That wasn’t all. He looked around the room, and was startled to see that the bookshelves were gone, as were the other trappings of great wisdom. Just a few books on a table in a corner, some counters covered with dust and papers and half-decayed food, and the floor inches deep in garbage.

“The place is horrible,” the wizard said. “I can’t bear to look at it.” He snapped his fingers, and the old illusion came back. “Much nicer, isn’t it?”

“Yes.”

“I have excellent taste, haven’t I? Now, you wanted me to help you fight the dragon, didn’t you? Well, I’m afraid it’s out of the question. You see, my illusions only work on human beings, and occasionally on horses. A dragon wouldn’t be fooled for a moment. You understand?”

Bork understood, and despaired. He returned to his hut and stared again at the flames. His resolution to return and fight the dragon again was undimmed. But now he knew that he would go as badly prepared as he had before, and his death and defeat would be certain. Well, he thought, better death than life as Bork the coward, Bork the bully who only has courage when he fights people smaller than himself.

The winter was unusually cold, and the snow was remarkably deep. The firewood ran out in February, and there was no sign of an easing in the weather.

The villagers went to the castle and asked for help, but the King was chilly himself, and the knights were all sleeping together in the great hall because there wasn’t enough firewood for their barracks and the castle, too. “Can’t help you,” the King said.

So it was Bork who led the villagers—the ten strongest men, dressed as warmly as they could, yet still cold to the bone in the wind—and they followed in the path his body cut in the snow. With his huge ax he cut down tree after tree; the villagers set the wedges and Bork split the huge logs; the men carried what they could but it was Bork who made seven trips and carried most of the wood home. The village had enough to last until spring—more than enough, for, as Bork had expected, as soon as the stacks of firewood were deep in the village, the King’s men came and took their tax of it.

And Bork, exhausted and frozen from the expedition, was carefully nursed back to health by the villagers. As he lay coughing and they feared he might die, it occurred to them how much they owed to the giant. Not just the firewood, but the hard labor in the farming work, and the fact that Bork had kept the armies far from their village, and they felt what no one in the castle had let himself feel for more than a few moments—gratitude. And so it was that when he had mostly recovered, Bork began to find gifts outside his door from time to time. A rabbit, freshly killed and dressed; a few eggs; a vast pair of hose that fit him very comfortably; a knife specially made to fit his large grip and to ride with comfortable weight on his hip. The villagers did not converse with him much. But then, they were not talkative people. The gifts said it all.

Throughout the spring, as Bork helped in the plowing and planting, with the villagers working alongside, he realized that this was where he belonged—with the villagers, not with the knights. They weren’t rollicking good company, but there was something about sharing a task that must be done that made for stronger bonds between them than any of the rough camaraderie of the castle. The loneliness was gone.

Yet when Bork returned home and stared into the flames in the center of his hut, the call of the dragon’s eyes became even stronger, if that were possible. It was not loneliness that drove him to seek death with the dragon. It was something else, and Bork could not think what. Pride? He had none—he accepted the verdict of the castle people that he was a coward. The only guess he could make was that he loved Brunhilda and felt a need to rescue her. The more he tried to convince himself, however, the less he believed it.

He had to return to the dragon because, in his own mind, he knew he should have died in the dragon’s teeth, back when he fought the dragon before. The common folk might love him for what he did for them, but he hated himself for what he was.

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