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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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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But why should the old man hate me? Barth wondered. I don’t know him. He finally decided that it was because he had been so fat, so obviously soft, while the old man was wiry to the point of being gaunt, his face pinched by years of exposure to the sunlight. Yet the old man’s hatred had not diminished as the months went by and the fat melted away in the sweat and sunlight of the potato field.

A sharp sting across his back, the sound of slapping leather on skin, and then an excruciating pain deep in his muscles. He had paused too long. The old man had come to him.

The old man said nothing. Just raised the lash again, ready to strike. Barth lifted the hoe out of the ground, to start work again. It occurred to him, as it had a hundred times before, that the hoe could reach as far as the whip, with as good effect. But, as a hundred times before, Barth looked into the old man’s eyes, and what he saw there, while he did not understand it, was enough to stop him. He could not strike back. He could only endure.

The lash did not fall again. Instead he and the old man just looked at each other. The sun burned where blood was coming from his back. Flies buzzed near him. He did not bother to brush them away.

Finally the old man broke the silence.

“H,” he said.

Barth did not answer. Just waited.

“They’ve come for you. First job,” said the old man.

First job. It took Barth a moment to realize the implications. The end of the potato fields. The end of the sunlight. The end of the old man with the whip. The end of the loneliness or, at least, of the boredom.

“Thank God,” Barth said. His throat was dry.

“Go wash,” the old man said.

Barth carried the hoe back to the shed. He remembered how heavy the hoe had seemed when he first arrived. How ten minutes in the sunlight had made him faint. Yet they had revived him in the field, and the old man had said, “Carry it back.” So he had carried back the heavy, heavy hoe, feeling for all the world like Christ bearing his cross. Soon enough the others had gone, and the old man and he had been alone together, but the ritual with the hoe never changed. They got to the shed, and the old man carefully took the hoe from him and locked it away, so that Barth couldn’t get it in the night and kill him with it.

And then into the house, where Barth bathed painfully and the old man put an excruciating disinfectant on his back. Barth had long since given up on the idea of an anesthetic. It wasn’t in the old man’s nature to use an anesthetic.

Clean clothes. A few minutes’ wait. And then the helicopter. A young, businesslike man emerged from it, looking unfamiliar in detail but very familiar in general. He was an echo of all the businesslike young men and women who had dealt with him before. The young man came to him, unsmilingly, and said, “H?”

Barth nodded. It was the only name they used for him.

“You have an assignment.”

“What is it?” Barth asked.

The young man did not answer. The old man, behind him, whispered, “They’ll tell you soon enough. And then you’ll wish you were back here, H. They’ll tell you, and you’ll pray for the potato fields.”

But Barth doubted it. In two years there had not been a moment’s pleasure. The food was hideous, and there was never enough. There were no women, and he was usually too tired to amuse himself. Just pain and labor and loneliness, all excruciating. He would leave that now. Anything would be better, anything at all.

“Whatever they assign you, though,” the old man said, “it can’t be any worse than my assignment.”

Barth would have asked him what his assignment had been, but there was nothing in the old man’s voice that invited the question, and there was nothing in their relationship in the past that would allow the question to be asked. Instead, they stood in silence as the young man reached into the helicopter and helped a man get out. An immensely fat man, stark-naked and white as the flesh of a potato, looking petrified. The old man strode purposefully toward him.

“Hello, I,” the old man said.

“My name’s Barth,” the fat man answered, petulantly. The old man struck him hard across the mouth, hard enough that the tender lip split and blood dripped from where his teeth had cut into the skin.

“I,” said the old man. “Your name is I.”

The fat man nodded pitiably, but Barth—H—felt no pity for him. Two years this time. Only two damnable years and he was already in this condition. Barth could vaguely remember being proud of the mountain he had made of himself. But now he felt only contempt. Only a desire to go to the fat man, to scream in his face, “Why did you do it! Why did you let it happen again!”

It would have meant nothing. To I, as to H, it was the first time, the first betrayal. There had been no others in his memory.

Barth watched as the old man put a hoe in the fat man’s hands and drove him out into the field. Two more young men got out of the helicopter. Barth knew what they would do, could almost see them helping the old man for a few days, until I finally learned the hopelessness of resistance and delay.

But Barth did not get to watch the replay of his own torture of two years before. The young man who had first emerged from the copter now led him to it, put him in a seat by a window, and sat beside him. The pilot speeded up the engines, and the copter began to rise.

“The bastard,” Barth said, looking out the window at the old man as he slapped I across the face brutally.

The young man chuckled. Then he told Barth his assignment.

Barth clung to the window, looking out, feeling his life slip away from him even as the ground receded slowly. “I can’t do it.”

“There are worse assignments,” the young man said.

Barth did not believe it.

“If I live,” he said, “if I live, I want to come back here.”

“Love it that much?”

“To kill him.”

The young man looked at him blankly.

“The old man,” Barth explained, then realized that the young man was ultimately incapable of understanding anything. He looked back out the window. The old man looked very small next to the huge lump of white flesh beside him. Barth felt a terrible loathing for I. A terrible despair in knowing that nothing could possibly be learned, that again and again his selves would replay this hideous scenario.

Somewhere, the man who would be J was dancing, was playing polo, was seducing and perverting and being delighted by every woman and boy and, God knows, sheep that he could find; somewhere the man who would be J dined.

I bent immensely in the sunlight and tried, clumsily, to use the hoe. Then, losing his balance, he fell over into the dirt, writhing. The old man raised his whip.

The helicopter turned then, so that Barth could see nothing but sky from his window. He never saw the whip fall. But he imagined the whip falling. Imagined and relished it, longed to feel the heaviness of the blow flowing from his own arm. Hit him again! he cried out inside himself. Hit him for me! And inside himself he made the whip fall a dozen times more.

“What are you thinking?” the young man asked, smiling, as if he knew the punch line of a joke.

“I was thinking,” Barth said, “that the old man can’t possibly hate him as much as I do.”

Apparently that was the punch line. The young man laughed uproariously. Barth did not understand the joke, but somehow he was certain that he was the butt of it. He wanted to strike out but dared not.

Perhaps the young man saw the tension in Barth’s body, or perhaps he merely wanted to explain. He stopped laughing but could not repress his smile, which penetrated Barth far more deeply than the laugh.

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