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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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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Except the princess. She didn’t call him anything, because she didn’t speak to him if she could help it, and when she talked about him, she stuck out her lower lip and called him That Man.

This is because the princess hated the Bear.

She didn’t hate him because he had done anything bad to her. In fact, she was pretty sure that he didn’t even notice she was living in the palace. He never turned and stared when she walked into the room, like all the other men did. But that isn’t why she hated him, either.

She hated him because she thought he was making her father weak.

King Ethelred was a great king, and his people loved him. He always stood very tall at ceremonies, and he sat for hours making judgments with great wisdom. He always spoke softly when softness was needed, and shouted at the times when only shouting would be heard.

In all he was a stately man, and so the princess was shocked with the way he was around the Bear.

King Ethelred and the Bear would sit for hours in the king’s study, every night when there wasn’t a great banquet or an ambassador. They would both drink from huge mugs of ale—but instead of having a servant refill the mugs, the princess was shocked that her own father stood up and poured from the pitcher! A king, doing the work of a servant, and then giving the mug to a commoner, a man whose name no one knew!

The princess saw this because she sat in the king’s study with them, listening and watching without saying a word as they talked. Sometimes she would spend the whole time combing her father’s long white hair. Sometimes she would knit long woolen stockings for her father for the winter. Sometimes she would read—for her father believed that even women should learn to read. But all the time she listened, and became angry, and hated the Bear more and more.

King Ethelred and the Bear didn’t talk much about affairs of state. They talked about hunting rabbits in the forest. They told jokes about lords and ladies in the kingdom—and some of the jokes weren’t even nice, the princess told herself bitterly. They talked about what they should do about the ugly carpet in the courtroom—as if the Bear had a perfect right to have an opinion about what the new carpet should be.

And when they did talk about affairs of state, the Bear treated King Ethelred like an equal. When he disagreed with the king, he would leap to his feet saying, “No, no, no, no, you just don’t see at all.” When he thought the king had said something right, he clapped him on the shoulder and said, “You’ll make a great king yet, Ethelred.”

And sometimes King Ethelred would sigh and stare into the fire, and whisper a few words, and a dark and tired look would steal across his face. Then the Bear would put his arm around the king’s shoulder, and stare into the fire with him, until finally the king would sigh again, and then lift himself, groaning, out of his chair, and say, “It’s time that this old man put his corpse between the sheets.”

The next day the princess would talk furiously to her nurse, who never told a soul what the princess said. The princess would say, “That Man is out to make my father a weakling! He’s out to make my father look stupid. That Man is making my father forget that he is a king.” Then she would wrinkle her forehead and say, “That Man is a traitor.”

She never said a word about this to her father, however. If she had, he would have patted her head and said, “Oh, yes, he does indeed make me forget that I am a king.” But he would also have said, “He makes me remember what a king should be.” And Ethelred would not have called him a traitor. He would have called the Bear his friend.

As if it wasn’t bad enough that her father was forgetting himself around a commoner, that was the very time that things started going bad with the prince. She suddenly noticed that the last several packets of mail had not held thirty letters each—they only held twenty, and then fifteen, and then ten. And the letters weren’t five pages long any more. They were only three, and then two, and then one.

He’s just busy, she thought.

Then she noticed that he no longer began her letters with, “My dearest darling sweetheart pickle-eating princess.” (The pickle-eating part was an old joke from something that happened when they were both nine.) Now he started them, “My dear lady,” or “Dear princess.” Once she said to her nurse, “He might as well address them to Occupant.”

He’s just tired, she thought.

And then she realized that he never told her he loved her anymore, and she went out on the balcony and cried where only the garden could hear, and where only the birds in the trees could see.

She began to keep to her rooms, because the world didn’t seem like a very nice place any more. Why should she have anything to do with the world, when it was a nasty place where fathers turned into mere men, and lovers forgot they were in love?

And she cried herself to sleep every night that she slept. And some nights she didn’t sleep at all, just stared at the ceiling trying to forget the prince. And you know that if you want to remember something, the best way is to try very, very hard to forget it.

Then one day, as she went to the door of her room, she found a basket of autumn leaves just inside her door. There was no note on them, but they were very brightly colored, and they rustled loudly when she touched the basket, and she said to herself, “It must be autumn.”

She went to the window and looked, and it was autumn, and it was beautiful. She had already seen the leaves a hundred times a day, but she hadn’t remembered to notice.

And then a few weeks later she woke up and it was cold in her room. Shivering, she went to her door to call for a servant to build her fire up higher—and just inside the door was a large pan, and on the pan there stood a little snowman, which was grinning a grin made of little chunks of coal, and his eyes were big pieces of coal, and all in all it was so comical the princess had to laugh. That day she forgot her misery for a while and went outside and threw snowballs at the knights, who of course let her hit them and who never managed to hit her, but of course that’s all part of being a princess—no one would ever put snow down your back or dump you in the canal or anything.

She asked her nurse who brought these things, but the nurse just shook her head and smiled. “It wasn’t me,” she said. “Of course it was,” the princess answered, and gave her a hug, and thanked her. The nurse smiled and said, “Thanks for your thanks, but it wasn’t me.” But the princess knew better, and loved her nurse all the more.

Then the letters stopped coming altogether. And the princess stopped writing letters. And she began taking walks in the woods.

At first she only took walks in the garden, which is where princesses are supposed to take walks. But in a few days of walking and walking and walking she knew every brick of the garden path by heart, and she kept coming to the garden wall and wishing she were outside it.

So one day she walked to the gate and went out of the garden and wandered into the forest. The forest was not at all like the garden. Where the garden was neatly tended and didn’t have a weed in it, the forest was all weeds, all untrimmed and loose, with animals that ran from her, and birds that scurried to lead her away from their young, and best of all, only grass or soft brown earth under her feet. Out in the forest she could forget the garden where every tree reminded her of talks she had had with the prince while sitting in the branches. Out in the forest she could forget the palace where every room had held its own joke or its own secret or its own promise that had been broken.

That was why she was in the forest the day the wolf came out of the hills.

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