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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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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He did not look down into the red-glowing holes in the middles of streets. And when he passed the gray labyrinth of the palace, he did not look up to try to find a shadow sliding by. He would live by the laws of the place, and perhaps his journey would end here.

The queen of Hierusalem was lonely. For a month she had been lost in the palace. She had strayed into a never-used portion of the labyrinth, where no one had lived for generations, and now, search as she might, she could find only rooms that were deeper and deeper in dust.

The servants, of course, knew exactly where she was, and some of them grumbled at having to come into a place of such filth, full of such unstylish old furniture, in order to care for her. It did not occur to them that she was lost—they only thought she was exploring. It would never do for her to admit her perplexity to them. It was the Queen’s business to know what she was doing. She couldn’t very well ask a servant, “Oh, by the way, while you’re fetching my supper, would you mind mentioning to me where I am?” So she remained lost, and the perpetual dust irritated all her allergies.

The Queen was immensely fat, too, which complicated things. Walking was a great labor to her, so that once she found a room with a bed that looked sturdy enough to hold her for a few nights, she stayed until the bed threatened to give way. Her progress through the unused rooms, then, was not in a great expedition, but rather in fits and starts. On one morning she would arise miserable from the bed’s increasing incapacity to hold her, eat her vast breakfast while the servants looked on to catch the dribbles, and then, instead of calling for singers or someone to read, she would order four servants to stand her up, point her in the direction she chose, and taxi her to a good, running start.

“That door,” she cried again and again, and the servants would propel her in that direction, while her legs trotted underneath her, trying to keep up with her body. And in the new room she could not stop to contemplate; she must take it all in on the run, with just a few mad glances, then decide whether to try to stay or go on. “On,” she usually cried, and the servants took her through the gradual curves and maneuvers necessary to reach whatever door was most capacious.

On the day that Amasa arrived in Hierusalem, the Queen found a room with a vast bed, once used by some ancient rake of a prince to hold a dozen paramours at once, and the Queen cried out, “This is it, this is the right place, stop, we’ll stay!” and the servants sighed in relief and began to sweep, to clean, to make the place liveable.

Her steward unctuously asked her, “What do you want to wear to the King’s Invocation?”

“I will not go,” she said. How could she? She did not know how to get to the hall where the ritual would be held. “I choose to be absent this once. There’ll be another one in seven years.” The steward bowed and left on his errand, while the Queen envied him his sense of direction and miserably wished that she could go home to her own rooms. She hadn’t been to a party in a month, and now that she was so far from the kitchens the food was almost cold by the time she was served the private dinners she had to be content with. Damn her husband’s ancestors for building all these rooms anyway.

Amasa slept by a dunghill because it was warmer there, naked as he was; and in the morning, without leaving the dunghill, he found work. He was wakened by the servants of a great Bishop, stablemen who had the week’s manure to leave for the farmers to collect. They said nothing to him, except to look with disapproval at his nakedness, but set to work, emptying small wheelbarrows, then raking up the dung to make a neater pile, Amasa saw how fastidiously they avoided touching the dung; he had no such scruples. He took an idle rake, stepped into the midst of the manure, and raked the hill higher and faster than the delicate stablemen could manage on their own. He worked with such a will that the Stablemaster took him aside at the end of the task.

“Want work?”

“Why not?” Amasa answered.

The Stablemaster glanced pointedly at Amasa’s unclothed body. “Are you fasting?”

Amasa shook his head. “I just left my clothing on the road.”

“You should be more careful with your belongings. I can give you livery, but it comes out of your wages for a year.”

Amasa shrugged. He had no use for wages.

The work was mindless and hard, but Amasa delighted in it. The variety was endless. Because he didn’t mind it, they kept him shoveling more manure than his fair share, but the shoveling of manure was like a drone, a background for bright rhinestones of childish delight: morning prayers, when the Bishop in his silver gown intoned the powerful words while the servants stood in the courtyard clumsily aping his signs; running through the streets behind the Bishop’s carriage shouting “Huzzah, huzzah!” while the Bishop scattered coins for the pedestrians; standing watch over the carriage, which meant drinking and hearing stories and songs with the other servants; or going inside to do attendance on the Bishop at the great occasions of this or that church or embassy or noble house, delighting in the elaborate costumes that so cleverly managed to adhere to the sumptuary laws while being as ostentatious and lewd as possible. It was grand, God approved of it all, and even discreet prurience and titillation were a face of the coin of worship and ecstasy.

But years at the desert’s edge had taught Amasa to value things that the other servants never noticed. He did not have to measure his drinking water. The servants splashed each other in the bathhouse. He could piss on the ground and no little animals came to sniff at the puddle, no dying insects lit on it to drink.

They called Hierusalem a city of stone and fire, but Amasa knew it was a city of life and water, worth more than all the gold that was forever changing hands.

The other stablemen accepted Amasa well enough, but a distance always remained. He had come naked, from the outside; he had no fear of uncleanliness before the Lord; and something else: Amasa had known the taste of death in his mouth and it had not been unwelcome. Now he accepted as they came the pleasures of a stableman’s life. But he did not need them, and knew he could not hide that from his fellows.

One day the Prior told the Steward, and the Steward the Stablemaster, and the Stablemaster told Amasa and the other stablemen to wash carefully three times, each time with soap. The old-timers knew what it meant, and told them all: It was the King’s Invocation that came but once in seven years, and the Bishop would bring them all to stand in attendance, clean and fine in their livery, while he took part in the solemn ordinances. They would have perfume in their hair. And they would see the King and Queen.

“Is she beautiful?” Amasa asked, surprised at the awe in the voices of these irreverent men when they spoke of her.

And they laughed and compared the Queen to a mountain, to a planet, to a moon.

But then a butterfly alighted on the head of an old woman, and suddenly all laughter stopped. “The butterfly,” they all whispered. The woman’s eyes went blank, and she began to speak:

“The Queen is beautiful, Saint Amasa, to those who have the eyes to see it.”

The servants whispered: See, the butterfly speaks to the new one, who came naked.

“Of all the holy men to come out of the world, Saint Amasa, of all the wise and weary souls, you are wisest, you are weariest, you are most holy.”

Amasa trembled at the voice of the butterfly. In memory he suddenly loomed over the crevice of Ekdippa, and it was leaping up to take him.

“We brought you here to save her, save her, save her,” said the old woman, looking straight into Amasa’s eyes.

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