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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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 I couldn’t help but laugh, cause that’s what the foreman always called Mr. Kaiser whenever he thought the old guy couldn’t hear him. And when I laughed, I felt myself cool off, just like as if I had been on fire and somebody poured cold water over my head.

“Take care of yourself, Mick,” he says. He give me his card and a twenty and tucked it into my pocket when I told him no. Then he got back into his car and made one of his insane U-turns right across traffic and headed back the other way.

Well if he did nothing else he got my brain back in gear. There I was walking along the highway where anybody at all could see me, just like Mr. Kaiser did. At least till I was out of town I ought to stay out of sight as much as I could. So there I was between those two hills, pretty steep, and all covered with green, and I figured I could climb either one. But the slope on the other side of the road looked somehow better to me, it looked more like I just ought to go there, and I figured that was as good a reason to decide as any I ever heard of, and so I dodged my way across Jefferson Street and went right into the kudzu caves and clawed my way right up. It was dark under the leaves, but it wasn’t much cooler than right out in the sun, particularly cause I was working so hard. It was a long way up, and just when I got to the top the ground started shaking. I thought it was an earthquake I was so edgy, till I heard the train whistle and then I knew it was one of those coal-hauling trains, so heavy it could shake ivy off a wall when it passed. I just stood there and listened to it, the sound coming from every direction all at once, there under the kudzu, I listened till it went on by, and then I stepped out of the leaves into a clearing.

And there she was, waiting for me, sitting under a tree.

I was too wore out to run, and too scared, coming on her sudden like that, just when I thought I was out of sight. It was just as if I’d been aiming straight at her, all the way up the hill, just as if she somehow tied a string to me and pulled me across the street and up the hill. And if she could do that, how could I run away from her, tell me that? Where could I go? I’d just turn some corner and there she’d be, waiting. So I says to her, “All right, what do you want?”

She just waved me on over. And I went, too, but not very close, cause I didn’t know what she had in mind. “Sit down, Mick,” says she. “We need to talk.”

Now I’ll tell you that I didn’t want to sit, and I didn’t want to talk, I just wanted to get out of there. And so I did, or at least I thought I did. I started walking straight away from her, I thought, but in three steps I realized that I wasn’t walking away, I was walking around her. Like that planet thing in science class, the more I moved, the more I got nowhere. It was like she had more say over what my legs did than me.

So I sat down.

“You shouldn’t have run off from me,” she says.

What I mostly thought of now was to wonder if she was wearing anything under that shirt. And then I thought, what a stupid time to be thinking about that. But I still kept thinking about it.

“Do you promise to stay right there till I’m through talking?” she says.

When she moved, it was like her clothes got almost transparent for a second, but not quite. Couldn’t take my eyes off her. I promised.

And then all of a sudden she was just a woman. Not ugly, but not all that pretty, neither. Just looking at me with eyes like fire. I was scared again, and I wanted to leave, especially cause now I began to think she really was doing something to me. But I promised, so I stayed.

“That’s how it began,” she says.

“What’s how what began?” says I.

“What you just felt. What I made you feel. That only works on people like you. Nobody else can feel it.”

“Feel what?” says I. Now, I knew what she meant, but I didn’t know for sure if she meant what I knew. I mean, it bothered me real bad that she could tell how I felt about her those few minutes there.

“Feel that,” she says, and there it is again, all I can think about is her body. But it only lasted a few seconds, and then I knew for sure that she was doing it to me.

“Stop it,” I says, and she says, “I already did.”

I ask her, “How do you do that?”

“Everybody can do it, just a little. A woman looks at a man, she’s interested, and so the bio-electrical system heats up, causes some odors to change, and he smells them and notices her and he pays attention.”

“Does it work the other way?”

“Men are always giving off those odors, Mick. Makes no difference. It isn’t a man’s stink that gives a woman her ideas. But like I said, Mick, that’s what everybody can do. With some men, though, it isn’t a woman’s smell that draws his eye. It’s the bio-electrical system itself. The smell is nothing. You can feel the heat of the fire. It’s the same thing as when you kill people, Mick. If you couldn’t kill people the way you do, you also couldn’t feel it so strong when I give off magnetic pulses.”

Of course I didn’t understand all that the first time, and maybe I’m remembering it now with words she didn’t teach me until later. At the time, though, I was scared, yes, because she knew, and because she could do things to me, but I was also excited, because she sounded like she had some answers, like she knew why it was that I killed people without meaning to.

But when I asked her to explain everything, she couldn’t. “We’re only just beginning to understand it ourselves, Mick. There’s a Swedish scientist who is making some strides that way. We’ve sent some people over to meet with him. We’ve read his book, and maybe even some of us understand it. I’ve got to tell you, Mick, just because we can do this thing doesn’t mean that we’re particularly smart or anything. It doesn’t get us through college any faster or anything. It just means that teachers who flunk us tend to die off a little younger.”

“You’re like me! You can do it too!”

She shook her head. “Not likely,” she says. “If I’m really furious at somebody, if I really hate him, if I really try, and if I keep it up for weeks, I can maybe give him an ulcer. You’re in a whole different league from me. You and your people.”

“I got no people,” I says.

“I’m here, Mick, because you got people. People who knew just exactly what you could do from the minute you were born. People who knew that if you didn’t get a tit to suck you wouldn’t just cry, you’d kill. Spraying out death from your cradle. So they planned it all from the beginning. Put you in an orphanage. Let other people, all those do-gooders, let them get sick and die, and then when you’re old enough to have control over it, then they look you up, they tell you who you are, they bring you home to live with them.”

“So you’re my kin?” I ask her.

“Not so you’d notice,” she says. “I’m here to warn you about your kin. We’ve been watching you for years, and now it’s time to warn you.”

“Now it’s time? I spent fifteen years in that children’s home killing everybody who ever cared about me, and if they’d just come along—or you, or anybody, if you just said, Mick, you got to control your temper or you’ll hurt people, if somebody just said to me, Mick, we’re your people and we’ll keep you safe, then maybe I wouldn’t be so scared all the time, maybe I wouldn’t go killing people so much, did you ever think of that?” Or maybe I didn’t say all that, but that’s what I was feeling, and so I said a lot, I chewed her up and down.

And then I saw how scared she was, because I was all sparky, and I realized I was just about to shed a load of death onto her, and so I kind of jumped back and yelled at her to leave me alone, and then she does the craziest thing, she reaches out toward me, and I scream at her, “Don’t you touch me!” cause if she touches me I can’t hold it in, it’ll just go all through her and tear up her guts inside, but she just keeps reaching, leaning toward me, and so I kind of crawled over toward a tree, and I hung onto that tree, I just held on and let the tree kind of soak up all my sparkiness, almost like I was burning up the tree. Maybe I killed it, for all I know. Or maybe it was so big, I couldn’t hurt it, but it took all the fire out of me, and then she did touch me, like nobody ever touched me, her arm across my back, and hand holding my shoulder, her face right up against my ear, and she says to me, “Mick, you didn’t hurt me.”

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