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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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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Funny thing was, that wrecked everything. I didn’t want them to be like me. I hated

my sparkiness, and there they were, showing it to me, making me see how a killer looks from the outside. It took a few seconds to realize that they was scared of me, too. I recognized how scaredness looks, from remembering how my own bio-electrical system got shaped and changed by fear. Course I didn’t think of it as a bio-electrical system then, or maybe I did cause she’d already told me, but you know what I mean. They was afraid of me. And I knew that was because I was giving off all the sparks I shed when I feel so mad at myself that I could bust. I was standing there at Old Peleg’s grave, hating myself, so naturally they saw me like I was ready to kill half a city. They didn’t know that it was me I was hating. Naturally they figured I might be mad at them for leaving me at that orphanage seventeen years ago. Serve them right, too, if I gave them a good hard twist in the gut, but I don’t do that, I honestly don’t, not any more, not standing there by Old Peleg who I loved a lot more than these two strangers, I don’t act out being a murderer when rny shadow’s falling across his grave.

So I calmed myself down as best I could and I turned around and there they was, my mama and my daddy. And I got to tell you I almost laughed. All those years I watched them TV preachers, and we used to laugh till our guts ached about how Tammy Bakker always wore makeup so thick she could be a nigger underneath (it was okay to say that cause Old Peleg himself said it first) and here was my mama, wearing just as much makeup and her hair sprayed so thick she could work construction without a hardhat. And smiling that same sticky phony smile, and crying the same gooey oozey black tears down her cheeks, and reaching out her hands just the right way so I halfway expected her to say, “Praise to Lord Jesus,” and then she actually says it, “Praise to Lord Jesus, it’s my boy,” and comes up and lays a kiss on my cheek with so much spit in it that it dripped down my face.

I wiped the slobber with my sleeve and felt my daddy have this little flash of anger, and I knew that he thought I was judging my mama and he didn’t like it. Well, I was, I got to admit. Her perfume was enough to knock me over, I swear she must’ve mugged an Avon lady. And there was my daddy in a fine blue suit like a businessman, his hair all blow-dried, so it was plain he knew just as well as I did the way real people are supposed to look. Probably he was plain embarrassed to be seen in public with Mama, so why didn’t he ever just say, Mama, you wear too much makeup? That’s what I thought, and it wasn’t till later that I realized that when your woman is apt to give you cancer if you rile her up, you don’t go telling her that her face looks like she slept in wet sawdust and she smells like a whore. White trash, that’s what my mama was, sure as if she was still wearing the factory label.

“Sure am glad to see you, Son,” says my daddy.

I didn’t know what to say, tell the truth. I wasn’t glad to see them, now that I saw them, because they wasn’t exactly what a orphan boy dreams his folks is like. So I kind of grinned and looked back down at Old Peleg’s grave.

“You don’t seem too surprised to see us,” he says.

I could’ve told him right then about the lady in Roanoke, but I didn’t. Just didn’t feel right to tell him. So I says, “I felt like somebody was calling me back here. And you two are the only people I met who’s as sparky as me. If you all say you’re my folks, then I figure it must be so.”

Mama giggled and she says to him, “Listen, Jesse, he calls it ’sparky.’”

“The word we use is ‘dusty,’ Son,” says Daddy. “We say a body’s looking dusty when he’s one of us.”

“You were a very dusty baby,” says Mama. “That’s why we knew we couldn’t keep you. Never seen such a dusty baby before. Papa Lem made us take you to the orphanage before you even sucked one time. You never sucked even once.” And her mascara just flooded down her face.

“Now Deeny,” says Daddy, “no need telling him everything right here.”

Dusty. That was no sense at all. It didn’t look like dust, it was flecks of light, so bright on me that sometimes I had to squint just to see my own hands through the dazzle. “It don’t look like dust,” I says.

And Daddy says, “Well what do you think it looks like?”

And I says, “Sparks. That’s why I call it being sparky.”

“Well that’s what it looks like to us, too,” says Daddy. “But we’ve been calling it ‘dusty’ all our lives, and so I figure it’s easier for one boy to change than for f—for lots of other folks.”

Well, now, I learned a lot of things right then from what he said. First off, I knew he was lying when he said it looked like sparks to them. It didn’t. It looked like what they called it. Dust. And that meant that I was seeing it a whole lot brighter than they could see it, and that was good for me to know, especially because it was plain that Daddy didn’t want me to know it and so he pretended that he saw it the same way. He wanted me to think he was just as good at seeing as I was. Which meant that he sure wasn’t. And I also learned that he didn’t want me to know how many kinfolk I had, cause he started to say a number that started with F, and then caught himself and didn’t say it. Fifty? Five hundred? The number wasn’t half so important as the fact that he didn’t want me to know it. They didn’t trust me. Well, why should they? Like the lady said, I was better at this than they were, and they didn’t know how mad I was about being abandoned, and the last thing they wanted to do was turn me loose killing folks. Especially themselves.

Well I stood there thinking about that stuff and pretty soon it makes them nervous and Mama says, “Now, Daddy, he can call it whatever he wants, don’t go making him mad or something.”

And Daddy laughs and says, “He isn’t mad, are you, Son?”

Can’t they see for themselves? Course not. Looks like dust to them, so they can’t see it clear at all.

“You don’t seem too happy to see us,” says Daddy.

“Now, Jesse,” says Mama, “don’t go pushing. Papa Lem said don’t you push the boy, you just make his acquaintance, you let him know why we had to push him out of the nest so young, so now you explain it, Daddy, just like Papa Lem said to.”

For the first time right then it occurred to me that my own folks didn’t want to come fetch me. They came because this Papa Lem made them do it. And you can bet they hopped and said yes, knowing how Papa Lem used his—but I’ll get to Papa Lem in good time, and you said I ought to take this all in order, which I’m mostly trying to do.

Anyway Daddy explained it just like the lady in Roanoke, except he didn’t say a word about bio-electrical systems, he said that I was “plainly chosen” from the moment of my birth, that I was “one of the elect,” which I remembered from Baptist Sunday School meant that I was one that God had saved, though I never heard of anybody who was saved the minute they was born and not even baptized or nothing. They saw how dusty I was and they knew I’d kill a lot of people before I got old enough to control it. I asked them if they did it a lot, putting a baby out to be raised by strangers.

“Oh, maybe a dozen times,” says Daddy.

“And it always works out okay?” says I.

He got set to lie again, I could see it by ripples in the light, I didn’t know lying could be so plain, which made me glad they saw dust instead of sparks. “Most times,” he says.

“I’d like to meet one of them others,” says I. “I figure we got a lot in common, growing up thinking our parents hated us, when the truth was they was scared of their own baby.”

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