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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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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Brunhilda sighed impatiently. “How long does this go on? Everybody else who comes up here is wonderful and brave. You just stand around talking about how miserable you are. Why don’t you fight?”

“Like the others?” asked Bork.

“They’re so brave,” she said.

“They’re all dead.”

“Only a coward would think of that,” she said scornfully.

“It hardly comes as a surprise to you,” Bork said. “Everyone knows I’m a coward. Why do you think I came? I’m of no use to anyone, except as a machine to kill people at the command of a King I despise.”

“That’s my father you’re talking about!”

“I’m nothing, and the world will be better without me in it.”

“I can’t say I disagree,” Brunhilda said.

But Bork did not hear her, for he felt the touch of the dragon’s tail on his back, and when he looked at the dragon’s eyes they had stopped glowing so brightly. They were almost back to normal, in fact, and the dragon was beginning to reach out its claws.

So Bork swung his ax, and the dragon dodged, and the battle was on, just as before.

And just as before, at sundown Bork stood pinned between tail and claws and teeth.

“Are you afraid to die?” asked the dragon, as it had before.

Bork almost answered yes again, because that would keep him alive. But then he remembered that he had come in order to die, and as he looked in his heart he still realized that however much he might fear death, he feared life more.

“I came here to die,” he said. “I still want to.”

And the dragon’s eyes leaped bright with light. Bork imagined that the pressure of the claws lessened.

“Well, then, Sir Bork, I can hardly do you such a favor as to kill you.” And the dragon let him go.

That was when Bork became angry.

“You can’t do this to me!” he shouted.

“Why not?” asked the dragon, who was now trying to ignore Bork and occupied itself by crushing boulders with its claws.

“Because I insist on my right to die at your hands.”

“It’s not a right, it’s a privilege,” said the dragon.

“If you don’t kill me, then I’ll kill you!”

The dragon sighed in boredom, but Bork would not be put off. He began swinging the ax, and the dragon dodged, and in the pink light of sunset the battle was on again. This time, though, the dragon only fell back and twisted and turned to avoid Bork’s blows. It made no effort to attack. Finally Bork was too tired and frustrated to go on.

“Why don’t you fight!” he shouted. Then he wheezed from the exhaustion of the chase.

The dragon was panting, too. “Come on now, little man, why don’t you give it up and go home. I’ll give you a signed certificate testifying that I asked you to go, so that no one thinks you’re a coward. Just leave me alone.”

The dragon began crushing rocks and dribbling them over its head. It lay down and began to bury itself in gravel.

“Dragon,” said Bork, “a moment ago you had me in your teeth. You were about to kill me. The old woman told me that truth was my only defense. So I must have lied before, I must have said something false. What was it? Tell me!”

The dragon looked annoyed. “She had no business telling you that. It’s privileged information.”

“All I ever said to you was the truth.”

“Was it?”

“Did I lie to you? Answer—yes or no!”

The dragon only looked away, its eyes still bright. It lay on its back and poured gravel over its belly.

“I did then. I lied. Just the kind of fool I am to tell the truth and still get caught in a lie.”

Had the dragon’s eyes dimmed? Was there a lie in what he had just said?

“Dragon,” Bork insisted, “if you don’t kill me or I don’t kill you, then I might as well throw myself from the cliff. There’s no meaning to my life, if I can’t die at your hands!”

Yes, the dragon’s eyes were dimming, and the dragon rolled over onto its belly, and began to gaze thoughtfully at Bork.

“Where is the lie in that?”

“Lie? Who said anything about a lie?” But the dragon’s long tail was beginning to creep around so it could get behind Bork.

And then it occurred to Bork that the dragon might not even know. That the dragon might be as much a prisoner of the fires of truth inside him as Bork was, and that the dragon wasn’t deliberately toying with him at all. Didn’t matter, of course. “Never mind what the lie is, then,” Bork said. “Kill me now, and the world will be a better place!”

The dragon’s eyes dimmed, and a claw made a pass at him, raking the air by his face.

It was maddening, to know there was a lie in what he was saying and not know what it was. “It’s the perfect ending for my meaningless life,” he said. “I’m so clumsy I even have to stumble into death.”

He didn’t understand why, but once again he stared into the dragon’s mouth, and the claws pressed gently but sharply against his flesh.

The dragon asked the question of Bork for the third time. “Are you afraid, little man, to die?”

This was the moment, Bork knew. If he was to die, he had to lie to the dragon now, for if he told the truth the dragon would set him free again. But to lie, he had to know what the truth was, and now he didn’t know at all. He tried to think of where he had gone astray from the truth, and could not. What had he said? It was true that he was clumsy; it was true that he was stumbling into death. What else then?

He had said his life was meaningless. Was that the lie? He had said his death would make the world a better place. Was that the lie?

And so he thought of what would happen when he died. What hole would his death make in the world? The only people who might miss him were the villagers. That was the meaning of his life, then—the villagers. So he lied.

“The villagers won’t miss me if I die. They’ll get along just fine without me.”

But the dragon’s eyes brightened, and the teeth withdrew, and Bork realized to his grief that his statement had been true after all. The villagers wouldn’t miss him if he died. The thought of it broke his heart, the last betrayal in a long line of betrayals.

“Dragon, I can’t outguess you! I don’t know what’s true and what isn’t! All I learn from you is that everyone I thought loved me doesn’t. Don’t ask me questions! Just kill me and end my life. Every pleasure I’ve had turns to pain when you tell me the truth.”

And now, when he had thought he was telling the truth, the claws broke his skin, and the teeth closed over his head, and he screamed. “Dragon! Don’t let me die like this! What is the pleasure that your truth won’t turn to pain? What do I have left?”

The dragon pulled away, and regarded him carefully. “I told you, little man, that I don’t answer questions. I ask them.”

“Why are you here?” Bork demanded. “This ground is littered with the bones of men who failed your tests. Why not mine? Why not mine? Why can’t I die? Why did you keep sparing my life? I’m just a man, I’m just alive, I’m just trying to do the best I can in a miserable world and I’m sick of trying to figure out what’s true and what isn’t. End the game, dragon. My life has never been happy, and I want to die.”

The dragon’s eyes went black, and the jaws opened again, and the teeth approached, and Bork knew he had told his last lie, that this lie would be enough. But with the teeth inches from him Bork finally realized what the lie was, and the realization was enough to change his mind. “No,” he said, and he reached out and seized the teeth, though they cut his fingers. “No,” he said, and he wept. “I have been happy. I have.” And, gripping the sharp teeth, the memories raced through his mind. The many nights of comradeship with the knights in the castle. The pleasures of weariness from working in the forest and the fields. The joy he felt when alone he won a victory from the Duke; the rush of warmth when the boy brought him the single fish he had caught; and the solitary pleasures, of waking and going to sleep, of walking and running, of feeling the wind on a hot day and standing near a fire in the deep of winter. They were all good, and they had all happened. What did it matter if later the knights despised him? What did it matter if the villagers’ love was only a fleeting thing, to be forgotten after he died? The reality of the pain did not destroy the reality of the pleasure; grief did not obliterate joy. They each happened in their time, and because some of them were dark it did not mean that none of them was light.

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