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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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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She was already heading back to the palace, because it was getting on toward dark, when she caught a glimpse of something moving. She looked, and realized that it was a huge gray wolf, walking along beside her not fifteen yards off. When she stopped, the wolf stopped. When she moved, the wolf moved. And the farther she walked, the closer the wolf came.

She turned and walked away from the wolf.

After a few moments she looked behind her, and saw the wolf only a dozen feet away, its mouth open, its tongue hanging out, its teeth shining white in the gloom of the late afternoon forest.

She began to run. But not even a princess can hope to outrun a wolf. She ran and ran until she could hardly breathe, and the wolf was still right behind her, panting a little but hardly tired. She ran and ran some more until her legs refused to obey her and she fell to the ground. She looked back, and realized that this was what the wolf had been waiting for—for her to be tired enough to fall, for her to be easy prey, for her to be a dinner he didn’t have to work for.

And so the wolf got a gleam in its eye, and sprang forward.

Just as the wolf leaped, a huge brown shape lumbered out of the forest and stepped over the princess. She screamed. It was a huge brown bear, with heavy fur and vicious teeth. The bear swung its great hairy arm at the wolf, and struck it in the head. The wolf flew back a dozen yards, and from the way its head bobbed about as it flew, the princess realized its neck had been broken.

And then the huge bear turned toward her, and she saw with despair that she had only traded one monstrous animal for another.

And she fainted. Which is about all that a person can do when a bear that is standing five feet away looks at you. And looks hungry.

She woke up in bed at the palace and figured it had all been a dream. But then she felt a terrible pain in her legs, and felt her face stinging with scratches from the branches. It had not been a dream—she really had run through the forest.

“What happened?” she asked feebly. “Am I dead?” Which wasn’t all that silly a question, because she really had expected to be.

“No,” said her father, who was sitting by the bed.

“No,” said the nurse. “And why in the world, why should you be dead?”

“I was in the forest,” said the princess, “and there was a wolf, and I ran and ran but he was still there. And then a bear came and killed the wolf, and it came toward me like it was going to eat me, and I guess I fainted.”

“Ah,” said the nurse, as if that explained everything.

“Ah,” said her father, King Ethelred. “Now I understand. We were taking turns watching you after we found you unconscious and scratched up by the garden gate. You kept crying out in your sleep, ‘Make the bear go away! Make the bear leave me alone!’ Of course, we thought you meant the Bear, our Bear, and we had to ask the poor man not to take his turn any more, as we thought it might make you upset. We all thought you hated him, for a while there.“ And King Ethelred chuckled. ”I’ll have to tell him it was all a mistake.”

Then the king left. Great, thought the princess, he’s going to tell the Bear it was all a mistake, and I really do hate him to pieces.

The nurse walked over to the bed and knelt beside it. “There’s another part of the story. They made me promise not to tell you,” the nurse said, “but you know and I know that I’ll always tell you everything. It seems that it was two guards that found you, and they both said that they saw something running away. Or not running, exactly, galloping. Or something. They said it looked like a bear, running on all fours.”

“Oh, no,” said the princess. “How horrible!”

“No,” said the nurse. “It was their opinion, and Robbo Knockle swears it’s true, that the bear they saw had brought you to the gate and set you down gentle as you please. Whoever brought you there smoothed your skirt, you know, and put a pile of leaves under your head like a pillow, and you were surely in no state to do all that yourself.”

“Don’t be silly,” said the princess. “How could a bear do all that?”

“I know,” said the nurse, “so it must not have been an ordinary bear. It must have been a magic bear.” She said this last in a whisper, because the nurse believed that magic should be talked about quietly, lest something awful should hear and come calling.

“Nonsense,” said the princess. “I’ve had an education, and I don’t believe in magic bears or magic brews or any kind of magic at all. It’s just old-lady foolishness.”

The nurse stood up and her mouth wrinkled all up. “Well, then, this foolish old lady will take her foolish stories to somebody foolish, who wants to listen.”

“Oh, there, there,” the princess said, for she didn’t like to hurt anyone’s feelings, especially not Nurse’s. And they were friends again. But the princess still didn’t believe about the bear. However, she hadn’t been eaten, after all, so the bear must not have been hungry.

It was only two days later, when the princess was up and around again—though there were nasty scabs all over her face from the scratches—that the prince came back to the palace.

He came riding up on a lathered horse that dropped to the ground and died right in front of the palace door. He looked exhausted, and there were great purple circles under his eyes. He had no baggage. He had no cloak. Just the clothes on his back and a dead horse.

“I’ve come home,” he said to the doorman, and fainted into his arms. (By the way, it’s perfectly all right for a man to faint, as long as he has ridden on horseback for five days, without a bite to eat, and with hundreds of soldiers chasing him.)

“It’s treason,” he said when he woke up and ate and bathed and dressed. “My allies turned against me, even my own subjects. They drove me out of my kingdom. I’m lucky to be alive.”

“Why?” asked King Ethelred.

“Because they would have killed me. If they had caught me.”

“No, no, no, no, don’t be stupid,” said the Bear, who was listening from a chair a few feet away. “Why did they turn against you?”

The prince turned toward the Bear and sneered. It was an ugly sneer, and it twisted up the prince’s face in a way it had never twisted when he lived with King Ethelred and was in love with the princess.

“I wasn’t aware that I was being stupid,” he said archly. “And I certainly wasn’t aware that you had been invited into the conversation.”

The Bear didn’t say anything after that, just nodded an unspoken apology and watched.

And the prince never did explain why the people had turned against him. Just something vague about power-hungry demagogues and mob rule.

The princess came to see the prince that very morning.

“You look exhausted,” she said.

“You look beautiful,” he said.

“I have scabs all over my face and I haven’t done my hair in days,” she said.

“I love you,” he said.

“You stopped writing,” she said.

“I guess I lost my pen,” he said. “No, I remember now. I lost my mind. I forgot how beautiful you are. A man would have to be mad to forget.”

Then he kissed her, and she kissed him back, and she forgave him for all the sorrow he had caused her and it was like he had never been away.

For about three days.

Because in three days she began to realize that he was different somehow.

She would open her eyes after kissing him (princesses always close their eyes when they kiss someone) and she would notice that he was looking off somewhere with a distant expression on his face. As if he barely noticed that he was kissing her. That does not make any woman, even a princess, feel very good.

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