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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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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And so Cer, quite accidentally, began his life with the treemage, and it was as happy a time as Cer ever had in his life, except when he was a child and his mother sang to him and except for the time his father took him hunting deer in the hills of Wetfell.

And after the autumn when Cer marveled at the colors of the leaves, and after the winter when Cer tramped through the snow with the treemage to tend to ice-splintered branches, and after the spring when Cer thinned the new plants so the forest did not become overgrown, the treemage began to think that the dark places in Cer’s heart were filled with light, or at least put away where they could not be found.

He was wrong.

For as he gathered leaves for the winter’s fires Cer dreamed he was gathering the bones of his enemies. And as he tramped the snow he dreamed he was marching into battle to wreak death on the Nefyrre. And as he thinned the treestarts Cer dreamed of slaying each of the uncles as his father had been slain, because none of them had stood by him in his danger.

Cer dreamed of vengeance, and his heart grew darker even as the wood was filled with the bright light of the summer sun.

One day he said to the treemage, “I want to learn magic.”

The treemage smiled with hope. “You’re learning it,” he said, “and I’ll gladly teach you more.”

“I want to learn things of power.”

“Ah,” said the treemage, disappointed. “Ah, then, you can have no magic.”

“You have power,” said Cer. “I want it also.”

“Oh, indeed,” said the treemage. “I have the power of two legs and two arms, the power to heat tar over a peat fire to stop the sap flow from broken limbs, the power to cut off diseased branches to save the tree, the power to teach the trees how and when to protect themselves. All the rest is the power of the trees, and none of it is mine.”

“But they do your bidding,” said Cer.

“Because I do theirs!” the treemage said, suddenly angry. “Do you think that there is slavery in this wood? Do you think I am a king? Only men allow men to rule them. Here in this wood there is only love, and on that love and by that love the trees and I have the magic of the wood.”

Cer looked down, disappointed. The treemage misunderstood, and thought that Cer was contrite.

“Ah, my boy,” said the treemage. “You haven’t learned it, I see. The root of magic is love, the trunk is service. The treemages love the trees and serve them and then they share treemagic with the trees. Lightmages love the sun and make fires at night, and the fire serves them as they serve the fire. Horsemages love and serve horses, and they ride freely whither they will because of the magic in the herd. There is field magic and plain magic, and the magic of rocks and metals, songs and dances, the magic of winds and weathers. All built on love, all growing through service.”

“I must have magic,” said Cer.

“Must you?” asked the treemage. “Must you have magic? There are kinds of magic, then, that you might have. But I can’t teach them to you.”

“What are they?”

“No,” said the treemage, and he wouldn’t speak again.

Cer thought and thought. What magic could be demanded against anyone’s will?

And at last, when he had badgered and nagged the treemage for weeks, the treemage angrily gave in. “Will you know then?” the treemage snapped. “I will tell you. There is seamagic, where the wicked sailors serve the monsters of the deep by feeding them living flesh. Would you do that?” But Cer only waited for more.

“So that appeals to you,” said the treemage. “Then you will be delighted at desert magic.”

And now Cer saw a magic he might use. “How is that performed?”

“I know not,” said the treemage icily. “It is the blackest of the magics to men of my kind, though your dark heart might leap to it. There’s only one magic darker.”

“And what is that?” asked Cer.

“What a fool I was to take you in,” said the treemage. “The wounds in your heart, you don’t want them to heal; you love to pick at them and let them fester.”

“What is the darkest magic?” demanded Cer.

“The darkest magic,” said the treemage, “is one, thank the moon, that you can never practice. For to do it you have to love men and love the love of men more than your own life. And love is as far from you as the sea is from the mountains, as the earth is from the sky.”

“The sky touches the earth,” said Cer.

“Touches, but never do they meet,” said the treemage.

Then the treemage handed Cer a basket, which he had just filled with bread and berries and a flagon of streamwater. “Now go.”

“Go?” asked Cer.

“I hoped to cure you, but you won’t have a cure. You clutch at your suffering too much to be healed.”

Cer reached out his foot toward the treemage, the crusty scars still a deep red where his great toe had been.

“As well you might try to restore my foot.”

“Restore?” asked the treemage. “I restore nothing. But I staunch, and heal, and I help the trees forget their lost limbs. For if they insist on rushing sap to the limb as if it were still there, they lose all their sap; they dry, they wither, they die.”

Cer took the basket.

“Thank you for your kindness,” said Cer. “I’m sorry that you don’t understand. But just as the tree can never forgive the ax or the flame, there are those that must die before I can truly live again.”

“Get out of my wood,” said the treemage. “Such darkness has no place here.”

And Cer left, and in three days came to the edge of the Mitherkame, and in two days reached the bottom of the cliffs, and in a few weeks reached the desert. For he would learn desertmagic. He would serve the sand, and the sand would serve him.

On the way the soldiers of Nefyryd stopped him and searched him. When they saw that he had no great toes, they beat him and shaved off his young and scraggly beard and sent him on his way with a kick.

Cer even stopped where his father’s farm had been. Now all the farms were farmed by Nefyrre, men of the south who had never owned land before. They drove him away, afraid that he might steal. So he snuck back in the night and from his father’s storehouse stole meat and from his father’s barn stole a chicken.

He crossed the Greebeck to the drylands and gave the meat and the chicken to the poor people there. He lived with them for a few days. And then he went out into the desert.

He wandered in the desert for a week before he ran out of food and water. He tried everything to find the desertmagic. He spoke to the hot sand and the burning rocks as the treemage had spoken to the trees. But the sand was never injured and did not need a healing touch, and the rocks could not be harmed and so they needed no protection. There was no answer when Cer talked, except the wind which cast sand in his eyes.

And at last Cer lay dying on the sand, his skin caked and chafed and burnt, his clothing long since tattered away into nothing, his flagon burning hot and filled with sand, his eyes blind from the whiteness of the desert.

He could neither love nor serve the desert, for the desert needed nothing from him and there was neither beauty nor kindness to love.

But he refused to die without having vengeance. Refused to die so long that he was still alive when the Abadapnu tribesmen found him. They gave him water and nursed him back to health. It took weeks, and they had to carry him on a sledge from waterhole to waterhole.

And as they traveled with their herds and their horses, the Abadapnur carried Cer farther and farther away from the Nefyrre and the land of Greet.

Cer regained his senses slowly, and learned the Abadapnu language even more slowly. But at last, as the clouds began to gather for the winter rains, Cer was one of the tribe, considered a man because he had a beard, considered wise because of the dark look on his face that remained even on those rare times when he laughed.

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