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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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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Well, her husband came home as it was getting dark, and the children came to him all worried. “Something’s wrong with Mother,” they said. “She ain’t making no sense.” The man walked into the house, and tried to talk to his wife, but she gave no answer. Then, suddenly, she said something, speaking to empty air. She was cutting carrots, but there were no carrots; she was cooking a stew, but there was no fire laid. Finally her husband realized that word for word, she was saying what she said only two days ago, when they last had stew, and if he said to her the words he had said then, why, the conversation at least made some sense.

And every day it was the same. They either said that same day’s words over and over again, or they ignored their mother, and let her go on as she did and paid her no mind. The kids got sick of it after a time, and got married and went away, and she never knew it. Her husband stayed with her, and more and more he got caught up in her dream, so that every day he got up and said the same words till they meant nothing and he couldn’t remember what he was living for, and so he died. The neighbors found him two days later, and buried him, and the woman never knew.

Her daughters and daughters-in-law tried to care for her, but if they took her to their homes, she’d just walk around as if she were still in her own little cottage, bumping into walls, cutting those infernal carrots, saying those words till they were all out of their minds. Finally they took her back to her own home and paid a woman to cook and clean for her, and she went on that way, all alone in that cabin, happy as a duck in a puddle until at last the floor of her cabin caved in and she fell in and broke her hip. They figure she never even felt the pain, and when she died she was still laughing and smiling and saying idiotic things, and never even saw one of her grandchildren, never even wept at her husband’s grave, and some folks said she was probably happier, but not a one said they were eager to change places with her. And it happened that a mean-looking old peddler came by and watched as they let her into her grave, and up rode a medicine man yelling at his horse, and he pulled up next to the peddler.

“So she bought from you,” the peddler said.

And the medicine man said, “If you’d just paint things up a little, add a bit of color here and there, you’d sell more, friend.”

But the peddler only shook his head. “If they’d ever let me finish telling them, they’d not be taken in by you, old liar. But they always send me packing before I’m through. I never get to tell them.”

“If you’d begin with the pleasant things, they’d listen.” “But if I began with the pleasant things, it wouldn’t be true.” “Fine with me. You keep me in business.” And the medicine man patted a trunk filled with gold and silver and bronze and iron hairs. It was the wealth of all the world, and the medicine man rode off with it, to go back home and count it all, so fine and cold.

And the peddler, he just rode home to his family, his great-great-great-grandchildren, his gray-haired wife who nagged, the children who complained about the way he was always off on business when he should be home, and always hanging about the house when he ought to be away; he rode home to the leaves that turned every year, and the rats that ate the apples in the cellar, and the folks that kept dying on him, and the little ones that kept on being born.

A PLAGUE OF BUTTERFLIES

The butterflies awoke him. Amasa felt them before he saw them, the faint pressure of hundreds of half-dozens of feet, weighting his rough wool sheet so that he dreamed of a shower of warm snow. Then opened his eyes and there they were, in the shaft of sunlight like a hundred stained-glass windows, on the floor like a carpet woven by an inspired lunatic, delicately in the air like leaves falling upward in a wind.

At last, he said silently.

He watched them awhile, then gently lifted his covers. The butterflies arose with the blanket. Carefully he swung his feet to the floor; they eddied away from his footfall, then swarmed back to cover him. He waded through them like the shallow water on the edge of the sea, endlessly charging and then retreating quickly. He who fights and runs away, lives to fight another day. You have come to me at last, he said, and then he shuddered, for this was the change in his life that he had waited for, and now he wasn’t sure he wanted it after all.

They swarmed around him all morning as he prepared for his journey. His last journey, he knew, the last of many. He had begun his life in wealth, on the verge of power, in Sennabris, the greatest of the oil-burning cities of the coast. He had grown up watching the vast ships slide into and out of the quays to void their bowels into the sink of the city. When his first journey began, he did not follow the tankers out to sea. Instead, he took what seemed the cleaner way, inland.

He lived in splendor in the hanging city of Besara on the cliffs of Carmel; he worked for a time as a governor in Kafr Katnei on the plain of Esdraelon until the Megiddo War; he built the Ladder of Ekdippa through solid rock, where a thousand men died in the building and it was considered a cheap price.

And in every journey he mislaid something. His taste for luxury stayed in Besara; his love of power was sated and forgotten in Kafr Katnei; his desire to build for the ages was shed like a cloak in Ekdippa; and at last he had found himself here, in a desperately poor dirt farm on the edge of the Desert of Machaerus, with a tractor that had to be bribed to work and harvests barely large enough to pay for food for himself and petrol for the machines. He hadn’t even enough to pay for light in the darkness, and sunset ended every day with imperturbable night. Yet even here, he knew that there was one more journey, for he had not yet lost everything: still when he worked in the fields he would reach down and press his fingers into the soil; still he would bathe his feet in the rush of water from the muddy ditch; still he would sit for hours in the heat of the afternoon and watch the grain standing bright gold and motionless as rock, drinking sun and expelling it as dry, hard grain. This last love, the love of life itself—it, too, would have to leave, Amasa knew, before his life would have completed its course and he would have consent to die.

The butterflies, they called him.

He carefully oiled the tractor and put it into its shed.

He closed the headgate of the ditch and shoveled earth into place behind it, so that in the spring the water would not flow onto his fallow fields and be wasted.

He filled a bottle with water and put it into his scrip, which he slung over his shoulder. This is all I take, he said. And even that felt like more of a burden than he wanted to bear.

The butterflies swarmed around him, and tried to draw him off toward the road into the desert, but he did not go at once. He looked at his fields, stubbled after the harvest. Just beyond them was the tumble of weeds that throve in the dregs of water that his grain had not used. And beyond the weeds was the Desert of Machaerus, the place where those who love water die. The ground was stone: rocky outcroppings, gravel; even the soil was sand. And yet there were ruins there. Wooden skeletons of buildings that had once housed farmers. Some people thought that this was a sign that the desert was growing, pushing in to take over formerly habitable land, but Amasa knew better. Rather the wooden ruins were the last remnants of the woeful Sebasti, those wandering people who, like the weeds at the end of the field, lived on the dregs of life. Once there had been a slight surplus of water flowing down the canals. The Sebasti heard about it in hours; in days they had come in their ramshackle trucks; in weeks they had built their scrappy buildings and plowed their stony fields, and for that year they had a harvest because the ditches ran a few inches deeper than usual. The next year the ditches were back to normal, and in a few hours one night the houses were stripped, the trucks were loaded, and the Sebasti were gone.

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