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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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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Deenaz obviously knew that it was futile, but she tried, protesting that she (no, not just me, all of us) could not leave the question unanswered. “If we knew how to make this marvelous substance, it could open up vast new frontiers to our minds! Don’t you know that this will force us to reexamine physics, reexamine everything, tear Einstein up by the roots and plant something new in his place!”

Agnes shook her head. “It isn’t my choice. All I can do is see to it you leave the Balloon alive. The people will not tolerate your risking their new homes. This place is too perfect to let you destroy it, for the sake of your desire to know new things.”

And then Deenaz, who was not given to weeping, wept, and in her tears Agnes saw the kind of determination she had had, and she knew the torture Deenaz was going through, knowing that the most important thing in the world to her would be withheld from her forever.

“Can’t be helped,” Agnes said.

“You must let me,” Deenaz sobbed. “You must let me!”

“I’m sorry,” Agnes said.

Deenaz looked up, the tears still flowing, but her voice clear as she said, “You don’t know sorrow.”

“I have had some experience with it,” Agnes said coldly.

“You will know sorrow someday,” Deenaz said. “You will wish you had let us explore and understand. You will wish you had let us learn the principles controlling this Balloon.”

“Are you threatening me?”

Deenaz shook her head, and now the tears, too, had stopped. “I am predicting. You are choosing ignorance over knowledge.”

“We are choosing safety over needless risk.”

“Name it how you want, I don’t care,” Deenaz said. But she cared very much, though caring did nothing but embitter her, for she and her scientists were removed from the Balloon and sent back to Earth, and no one was ever permitted to go to the inmost wall again.

HECTOR 6

“They are impatient,” Hector said to himselves. “We are still so young, and already they try to penetrate us.”

“We are hurt,” said the Hectors to themself.

“You will heal,” Hector answered. “It is not time. They cannot stop us in our growth. It is in our fullness, in our ecstasy that they will find the last heart of Hector softened; it is in our passion that they will break us, harness us, tie us forever to their service.”

The words were gloomy, but the Hectors did not understand. For some things had to be taught, and some of those things could only be learned by experience, and some experiences would only come to the Hectors with time.

“How much time?” asked the Hectors.

“A hundred times around the star,” said Hector. “A hundred times, and we are done.” And undone, he did not add.

AGNES 7

A hundred years had passed since the Balloon had first appeared in orbit around the sun. And in that time almost all of Agnes’s dreams had come true. From a hundred ships the great fleet turned to five hundred and then a thousand and then more than a thousand before the great flood of emigration turned to a trickle and the ships were taken apart again. In that flood first a thousand, then five thousand, then ten and fifteen thousand people had filled every ship to capacity. And the ships became faster—from ten months for a round trip, the voyage shortened to eight months, then five. Nearly two billion people left Earth and came to the Balloon.

And it soon became clear that Emma Lazarus wrote for the wrong monument. The tired, the poor, the huddled masses had lost hope in any country on Earth; it was the illiterate, the farmer, the land-starved city dweller who came and signed up for the ships and went to build a new home in a new village where the sky never went dark and it rained every thirteen and a half hours and no one could make them pay rent or taxes. True, there were many of the poor who stayed on Earth, and many of the rich who got a spirit of adventure and went; and the middle classes made up their own minds, and the Balloon did not lack for teachers and doctors—though lawyers soon discovered that they had to find other employment, for there were no laws except the agreed-on customs in each cell, and no courts except as each cell wanted them.

For this was the greatest miracle of all, in Agnes’s opinion. Every cell became a nation of its own, a community just large enough to be interesting, just small enough to let everyone find a niche where he was needed and important to everyone he knew. Did Jews and Arabs hate each other? No one forced them to share a cell. And so there was no need for Cambodian to fight Vietnamese, for they could simply live in different cells, with plenty of land for each; there was no need for atheist to offend Christian, for there were cells where those who cared about such things could find others of the same opinion, and be content. There was ample lebensraum; the discontented did not have to kill—they only had to move.

In short, there was peace.

Oh, human nature had not changed. Agnes heard of murders, and there was plenty of greed and lust and rage and all the other old-fashioned vices. But people didn’t get organized to do it, not in cells so small that even if you didn’t know a man, someone you knew was bound to know him, or know someone who did.

A hundred years had passed, and Agnes was nearing 150 years of age, and was surprised that she had lived so long, though these days it was not all that rare. There were few diseases on the Balloon, and the doctors had found ways of proroguing death. A hundred years had passed, and Agnes was happy.

They sang for her. Not a silly song of congratulations; instead all the Ibos in all the cells that called themselves Biafra (each cell a clan, each clan independent of the others) came and sang to her the national anthem, which was solemn; then sang to her a hundred mad and happy songs from the more complicated days on Earth, the darker days, the most terrible days. She was too feeble to dance. But she sang, too.

After all, Aunt Agnes, as she was known to many of the inhabitants of the Balloon, was the closest thing they had to a hero of liberation, and because at her age death could not be put off much longer, deputations came from many other cells and groups of cells. She received them all, spoke to each for a moment.

There were speeches about the great scientific and technological and social advances made by the people of the Balloon, much talk of 100 percent literacy being only a few thousand people away from achievement.

But when it was time for Agnes’s speech, she was not congratulatory.

“We have lived here a century,” she said, “and we still have not penetrated the mysteries of this globe. What is the fabric of the Balloon made of? Why does it open or not open? How is energy brought from the surface to the ceilings of our cells? We understand nothing of this place, as if it were a gift from God, and those who treat anything like a gift of God are bound to be at the mercy of God, who is not known to be merciful.” They were polite, but impatient, and they became quite embarrassed when her voice shifted to a confessional tone, abject, repentant. “It is as much my fault as anyone’s. I have not spoken before, and so now every custom in every cell prohibits us from studying the one scientific question that surrounds us constantly: What is this world we live in? How did it get here? And how long will it stay?” At last she finished her speech, and everyone was relieved, and a few wise, tolerant people said, “She’s old, and a crusader, and crusaders must have their crusade whether there’s a need for it or not.”

And then, a few days after her largely ignored speech, the lights flickered out for ten long seconds, then went back on again, in every cell throughout the globe. A few hours later, the lights flickered out again, and again and again at increasingly more frequent intervals, and no one knew what was going on, or what to do. A few of the more timid ones and most recent arrivals got back into the transport ships and started their return to Earth. It was already too late. They would not make it.

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