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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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 have been happy,” Bork said. “And if you let me live, I’ll be happy again. That’s what my life means, doesn’t it? That’s the truth, isn’t it, dragon? My life matters because I’m alive, joy or pain, whatever comes, I’m alive and that’s meaning enough. It’s true, isn’t it, dragon! I’m not here to fight you. I’m not here for you to kill me. I’m here to make myself alive!”

But the dragon did not answer. Bork was gently lowered to the ground. The dragon withdrew its talons and tail, pulled its head away, and curled up on the ground, covering its eyes with its claws.

“Dragon, did you hear me?”

The dragon said nothing.

“Dragon, look at me!”

The dragon sighed. “Man, I cannot look at you.”

“Why not?”

“I am blind,” the dragon answered. It pulled its claws away from its eyes. Bork covered his face with his hands. The dragon’s eyes were brighter than the sun.

“I feared you, Bork,” the dragon whispered. “From the day you told me you were afraid, I feared you. I knew you would be back. And I knew this moment would come.”

“What moment?” Bork asked.

“The moment of my death.”

“Are you dying?”

“No,” said the dragon. “Not yet. You must kill me.”

As Bork looked at the dragon lying before him, he felt no desire for blood. “I don’t want you to die.”

“Don’t you know that a dragon cannot live when it has met a truly honest man? It’s the only way we ever die, and most dragons live forever.”

But Bork refused to kill him.

The dragon cried out in anguish. “I am filled with all the truth that was discarded by men when they chose their lies and died for them. I am in constant pain, and now that I have met a man who does not add to my treasury of falsehood, you are the crudest of them all.”

And the dragon wept, and its eyes flashed and sparkled in every hot tear that fell, and finally Bork could not bear it. He took his ax and hacked off the dragon’s head, and the light in its eyes went out. The eyes shriveled in their sockets until they turned into small, bright diamonds with a thousand facets each. Bork took the diamonds and put them in his pocket.

“You killed him,” Brunhilda said wonderingly.

Bork did not answer. He just untied her, and looked away while she finally fastened her gown. Then he shouldered the dragon’s head and carried it back to the castle, Brunhilda running to keep up with him. He only stopped to rest at night because she begged him to. And when she tried to thank him for freeing her, he only turned away and refused to hear. He had killed the dragon because it wanted to die. Not for Brunhilda. Never for her.

At the castle they were received with rejoicing, but Bork would not go in. He only laid the dragon’s head beside the moat and went to his hut, fingering the diamonds in his pocket, holding them in front of him in the pitch blackness of his hut to see that they shone with their own light, and did not need the sun or any other fire but themselves.

The King and Winkle and Brunhilda and a dozen knights came to Bork’s hut. “I have come to thank you,” the King said, his cheeks wet with tears of joy.

“You’re welcome,” Bork said. He said it as if to dismiss them.

“Bork,” the King said. “Slaying the dragon was ten times as brave as the bravest thing any man has done before. You can have my daughter’s hand in marriage.”

Bork looked up in surprise.

“I thought you never meant to keep your promise, Your Majesty.”

The King looked down, then at Winkle, then back at Bork. “Occasionally,” he said, “I keep my word. So here she is, and thank you.”

But Bork only smiled, fingering the diamonds in his pocket. “It’s enough that you offered, Your Majesty. I don’t want her. Marry her to a man she loves.”

The King was puzzled. Brunhilda’s beauty had not waned in her years of captivity. She had the sort of beauty that started wars. “Don’t you want any reward?” asked the King.

Bork thought for a moment. “Yes,” he said. “I want to be given a plot of ground far away from here. I don’t want there to be any count, or any duke, or any king over me. And any man or woman or child who comes to me will be free, and no one can pursue them. And I will never see you again, and you will never see me again,”

“That’s all you want?”

“That’s all.”

“Then you shall have it,” the King said.

Bork lived all the rest of his life on his little plot of ground. People did come to him. Not many, but five or ten a year all his life, and a village grew up where no one came to take a king’s tithe or a duke’s fifth or a count’s fourth. Children grew up who knew nothing of the art of war and never saw a knight or a battle or the terrible fear on the face of a man who knows his wounds are too deep to heal. It was everything Bork could have wanted, and he was happy all his years there.

Winkle, too, achieved everything he wanted. He married Brunhilda, and soon enough the King’s sons had accidents and died, and the King died after dinner one night, and Winkle became King. He was at war all his life, and never went to sleep at night without fear of an assassin coming upon him in the darkness. He governed ruthlessly and thoroughly and was hated all his life; later generations, however, remembered him as a great King. But he was dead then, and didn’t know it.

Later generations never heard of Bork.

He had only been out on his little plot of ground for a few months when the old wife came to him. “Your hut is much bigger than you need,” she said. “Move over.”

So Bork moved over, and she moved in.

She did not magically turn into a beautiful princess. She was foul-mouthed and nagged Bork unmercifully. But he was devoted to her, and when she died a few years later he realized that she had given him more happiness than pain, and he missed her. But the grief at her dying did not taint any of the joys of his memory of her; he just fingered the diamonds, and remembered that grief and joy were not weighed in the same scale, one making the other seem less substantial.

And at last he realized that Death was near; that Death was reaping him like wheat, eating him like bread. He imagined Death to be a dragon, devouring him bit by bit, and one night in a dream he asked Death, “Is my flavor sweet?”

Death, the old dragon, looked at him with bright and understanding eyes, and said, “Salty and sour, bitter and sweet. You sting and you soothe.”

“Ah,” Bork said, and was satisfied.

Death poised itself to take the last bite. “Thank you,” it said.

“You’re welcome,” Bork answered, and he meant it.

THE PRINCESS AND THE BEAR

I know you’ve seen the lions. All over the place: beside the doors, flanking the throne, roaring out of the plates in the pantry, spouting water from under the eaves. Haven’t you ever wondered why the statue atop the city gates is a bear?

Many years ago in this very city, in the very palace that you can see rising granite and gray behind the old crumbly walls of the king’s garden, there lived a princess. It was so long ago that who can ever remember her name? She was just the princess. These days it isn’t in fashion to think that princesses are beautiful, and in fact they tend to be a bit horse-faced and gangling. But in those days it was an absolute requirement that a princess look fetching, at least when wearing the most expensive clothes available.

This princess, however, would have been beautiful dressed like a slum child or a shepherd girl. She was beautiful the moment she was born. She only got more beautiful as she grew up.

And there was also a prince. He was not her brother, though. He was the son of a king in a far-off land, and his father was the thirteenth cousin twice removed of the princess’ father. The boy had been sent here to our land to get an education—because the princess’ father, King Ethelred, was known far and wide as a wise man and a good king.

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