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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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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Dropped his robe. The man was wearing a robe. Except for this gory night men did not wear robes. And at that moment he caught through his side mirror the white flash of the man throwing himself under the rear tires. Rod slammed on the brake and leaned his head against the steering wheel and wept loud, wracking sobs that shook the whole cab, that set the truck rocking slightly on its heavy-duty springs.

For in every death Rod saw the face of his wife after the traffic accident (not my fault!) that had killed her instantly and yet left Rod to walk away from the wreck without a scratch on him.

I was not supposed to live, he thought at the time, and thought now. I was not supposed to live, and now God is telling me that I am a murderer with my wheels and my motor and my steering wheel.

And he looked up from the wheel.

Orion was still laughing at Hector’s account of how he fooled the truck driver into speeding up.

“He thought I was conking into the bushes at the side of the road!” he howled again, and Orion burst into a fresh peal of laughter at his friend.

“And then a backflip into the road, under his tires! How I wish I could see it!” Orion shouted. The other guests were laughing, too. Except Gemini and Officer Man-wool.

“You can see it, of course,” Manwool said softly.

Her words penetrated through the noise, and Orion shook his head. “Only on the holo. And that’s not very good, not a good image at all.”

“It’ll do,” she said.

And Gemini, behind Orion, murmured, “Why not, Orry?”

The sound of the old term of endearment was startling to Orion, but oddly comforting. Did Gemini, then, treasure those memories as Orion did? Orion turned slowly, looked into Gemini’s sad, deep eyes. “Would you like to see it on the holo?” he asked.

Gemini only smiled. Or rather, twitched his lips into that momentary piece of a smile that Orion knew from so many years before (only forty years, but forty years was back into my childhood, when I was only thirty and Gemini was—what?—fifteen. Helot to my Spartan; Slav to my Hun) and Orion smiled back. His fingers danced over the controls.

Many of the guests gathered around, although others, bored with the coming and going in the timelid, however extravagant it might be as a party entertainment (“Enough energy to light all of Mexico for an hour,” said the one with the giddy laugh who had already promised her body to four men and a woman and was now giving it to another who would not wait), occupied themselves with something decadent and delightful and distracting in the darker corners of the room.

The holo flashed on. The truck crept slowly down the road, its holographic image flickering.

“Why does it do that?” someone asked, and Orion answered mechanically, “There aren’t as many chronons as there are photons, and they have a lot more area to cover.”

And then the image of a man flickering by the side of the road. Everyone laughed as they realized it was Hector, conking away with all his heart. Then another laugh as he dropped his robe and waved. The truck sped up, and then a backflip by the manfigure, under the wheels. The body flopped under the doubled back tires, then lay limp and shattered in the road as the truck came to a stop only a few meters ahead. A few moments later, the body disappeared.

“Brilliantly done, Hector!” Orion shouted again. “Better than you told it!” Everyone applauded in agreement, and Orion reached over to flip off the holo. But Officer Manwool stopped him.

“Don’t turn it off, Mr. Overweed,” she said. “Freeze it, and move the image.”

Orion looked at her for a moment, then shrugged and did as she said. He expanded the view, so that the truck shrank. And then he suddenly stiffened, as did the guests close enough and interested enough to notice. Not more than ten meters in front of the truck was the ravine, where the broken bridge waited.

“He can see it,” somebody gasped. And Officer Manwool slipped a lovecord around Orion’s wrist, pulled it taut, and fastened the loose end to her workbelt.

“Orion Overweed, you’re under arrest. That man can see the ravine. He will not die. He was brought to a stop in plenty of time to notice the certain death ahead of him. He will live—with a knowledge of whatever he saw tonight. And already you have altered the future, the present, and all the past from his time until the present.”

And for the first time in all his life, Orion realized that he had reason to be afraid.

“But that’s a capital offense,” he said lamely.

“I only wish it included torture,” Officer Manwool said heatedly, “the kind of torture you put that poor truck driver through!”

And then she started to pull Orion out of the room.

Rod Bingley lifted his eyes from the steering wheel and stared uncomprehendingly at the road ahead. The truck’s light illuminated the road clearly for many meters. And for five seconds or thirty minutes or some other length of time that was both brief and infinite he did not understand what it meant.

He got out of the cab and walked to the edge of the ravine, looking down. For a few minutes he felt relieved.

Then he walked back to the truck and counted the wounds in the cab. The dents on the grill and the smooth metal. Three cracks in the windshield.

He walked back to where the man had been urinating. Sure enough, though there was no urine, there was an indentation in the ground where the hot liquid had struck, speckles in the dirt where it had splashed.

And in the fresh asphalt, laid, surely, that morning (but then why no warning signs on the bridge? Perhaps the wind tonight blew them over), his tire tracks showed clearly. Except for a manwidth stretch where the left rear tires had left no print at all.

And Rodney remembered the dead, smashed faces, especially the bright and livid eyes among the blood and broken bone. They all looked like Rachel to him. Rachel who had wanted him to—to what? Couldn’t even remember the dreams anymore?

He got back into the cab and gripped the steering wheel. His head spun and ached, but he felt himself on the verge of a marvelous conclusion, a simple answer to all of this. There was evidence, yes, even though the bodies were gone, there was evidence that he had hit those people. He had not imagined it.

They must, then, be (he stumbled over the word, even in his mind, laughed at himself as he concluded:) angels. Jesus sent them, he knew it, as his mother had taught him, destroying angels teaching him the death that he had brought to his wife while daring, himself, to walk away scatheless.

It was time to even up the debt.

He started the engine and drove, slowly, deliberately toward the end of the road. And as the front tires bumped off and a sickening moment passed when he feared that the truck would be too heavy for the driving wheels to push along the ground, he clasped his hands in front of his face and prayed, aloud: “Forward!”

And then the truck slid forward, tipped downward, hung in the air, and fell. His body pressed into the back of the truck. His clasped hands struck his face. He meant to say, “Into thy hands I commend my spirit,” but instead he screamed, “No no no no no,” in an infinite negation of death that, after all, didn’t do a bit of good once he was committed into the gentle, unyielding hands of the ravine. They clasped and enfolded him, pressed him tightly, closed his eyes and pillowed his head between the gas tank and the granite.

“Wait,” Gemini said.

“Why the hell should we?” Officer Manwool said, stopping at the door with Orion following docilely on the end of the lovecord. Orion, too, stopped, and looked at the policeman with the adoring expression all lovecord captives wore.

“Give the man a break,” Gemini said.

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