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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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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HECTOR 7

“It has begun,” cried the Hectors in ecstasy, throbbing in vast beats with the energy stored in them.

“It will not finish,” Hector said to himselves. “The Masters will come to the center and find me, now that my heart is softened, and when I am found, we are owned.”

But the Hectors were too caught up in their ecstasy to notice the warning; and it was just as well, because happy or grim they would be trapped. They could begin their dance, and tremble in delight, but the great leap of freedom would never come.

The Hectors did not grieve; Hector did not want to. For Hector, freedom would end anyway. Either he would be trapped by the Masters (by far the most likely thing now, he was sure) or he would die in the dance. That was the way of things. When he himself had danced, leaping away from the light so long ago, he had left behind the memory of the Hector, the self who had given him himself, which he now, in turn, had given to himselves. Death, birth, death, birth; it was in another story the Masters had taught him. I am they; they are myself; I shall live forever whatever happens.

But in him was the certainty that however the Hectors might be identical to himself, that which had been himself for so long would die unless the Masters came.

It was traitorous, but no less sincere for all that. “Come,” he said in his heart. “Come quickly, you with the nets and the traps.”

He sang, a bird in the low branches, begging the hunters to find him, to put him in a cage.

They delayed. They delayed their coming. And Hector began to worry, while the Hectors readied themselves to leap.

AGNES 8

“We’ve timed the flashes. The lights go off for just under ten seconds, but the interval between the flashes decreases by about four and a half seconds each time.”

Agnes nodded. Some of the scientists around her began to move away, or to look downward or into their papers or at each other, in the embarrassed realization that telling Auntie Agnes about their findings wouldn’t solve anything. What could she do? Yet she was the closest thing to a planetary government there was. And she was not very close to that at all.

“I see you have it all nicely measured. Anyone know what it means?” she asked.

“No. How could we?”

Many shook their heads, but one young woman said, “Yes. Whenever the darkness is on us, the walls are impenetrable.”

There was a stir of comment. “The whole time?” someone asked. Yes, the young woman said. “How do you know?” another demanded. By trying to pass through a wall during the blackout and having my students do the same, she said.

“What does it mean?” another asked, and this time no one had an answer.

Agnes raised her old, faded black hand and they listened. “There might be some important meaning that we cannot guess from this information. But one thing we do know. If things go on the way they are now, it should be sometime during tonight’s sleep that the interval between flashes fades to zero, and we have darkness with no light in between. How long that will last I don’t know. But if it has any duration at all, my friends, I will want to be home with my family. We don’t know how soon travel will reopen between cells.”

No one had any better ideas, and so they went home, all of them, and her greatgrandchildren helped Agnes to her home, which was nothing more than a roof to keep off the sun and the rain. She was tired (she was always tired these days) and she lay on her bed of ticked-out straw and dreamed two dreams, one while she was still awake, and one while she was asleep.

While she was awake she dreamed that with the darkness this great gift house had learned mankind’s rhythms and needs, and the darkness would be the first night, a night exactly as long as a night should be on Earth. And then a morning would come, and another night, and she approved of this, because a hundred years without darkness was proof enough to her that nighttime was a good idea, despite the fears and dangers it had often brought on Earth. She also dreamed that the walls between cells were sealed off every day of the year but one, so that each cell would become a society to itself, though in that one day a year, those who had a mind to could leave and go their own way. Travelers would have that one day to find the spot where they wanted to spend the next year. But the rest of the time, every cell would be alone, and the people living there could develop their own way, and so strengthen the race.

It was a good dream, and she found herself almost believing it as she drifted off to sleep without eating. (She often forgot to eat these days.)

In her sleep, she dreamed that during the darkness she rose to the center of the Balloon, and there, instead of meeting a solid wall, she met a ceiling that fairly pulled her through. And there, in the center, she found the great secret.

In her dream, lightning danced across a huge sphere of space, six hundred kilometers in diameter, and balls and ribbons of light spun and danced their way around the wall. At first it seemed pointless, meaningless. But at last (in her dream) she understood the speech of the light, and realized that this globe, which she had thought was an artifact, was actually alive, was intelligent, and this was its mind.

“I have come,” she said to the lightning and the lights and the balls of light.

So what? the light seemed to answer.

“Do you love me?” she asked.

Only if you will dance with me, the light answered.

“Oh, but I can’t dance,” she said. “I’m too old.”

Neither, said the light, can I. But I do sing rather well, and this is my song, and you are the coda. I sing the coda once, and then, which is to be expected, il fine.

In her dream Agnes felt a thrill of fear. “The end?”

The end.

“But then—but then, please, al capo, to the start again, and let us have the song over, and over, and over again.”

The light seemed to consider this, and in her dream Agnes thought the light said yes, in a great, profound amen that blinded her so brightly she realized that in all her life she had never understood the meaning of the word white, because her eyes had never seen such white before.

Actually, of course, her dream was undoubtedly her mind’s way of coping with the things going on around her. For the darkness came not long after she went to sleep, came and stayed and as soon as the last of the sunlight was gone the lightning began, huge dazzling flashes that were not just light, not just electricity, but spanned the spectrum of all radiation, from heat and less-than-heat to gamma radiation and worse-than-gamma. The first flash doomed every human being in the Balloon—they were poisoned with radiation beyond hope of recovery.

There were screams of terror, and the lightning struck many and killed them, and the wail of grief was loud in every cell. But even at its crudest, chance plays its hand as kindly as it can; Agnes did not wake up to see the destruction of all her hopes. She slept on, slept long enough for one of the bolts to strike directly at the roof over her, and consume her at a blow, and her last sight was not really white at all, but every radiation possible, and instead of being limited by human eyes, at the moment of death she saw every wave of it, and thought that it was the light in her dream saying amen.

It wasn’t. It was the Balloon, popping.

Every wall split into two thinner walls, and every cell detached from every other cell. For a moment they hung there in space, separated by only a few centimeters, each from the other; but all still were linked to each other through the center, where vast forces played, forces stronger than any in the solar system except the fires of the sun, which had been the source of all the Balloon’s energy.

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