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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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 they’re mostly grown up and gone off,” he says, but it’s a lie, and most important of all was the fact that here I as much as said I thought they wasn’t worth horse pucky as parents and the only thing Daddy can think of to say is why I can’t see none of the other “orphans,” which tells me that whatever he’s lying to cover up must be real important.

But I didn’t push him right then, I just looked back down at Old Peleg’s grave and wondered if he ever told a lie in his life.

Daddy says, “I’m not surprised to find you here.” I guess he was nervous, and had to change the subject. “He’s one you dusted, isn’t he?”

Dusted. That word made me so mad. What I done to Old Peleg wasn’t dusting. And being mad must have changed me enough they could see the change. But they didn’t know what it meant, cause Mama says to me, “Now, Son, I don’t mean to criticize, but it isn’t right to take pride in the gifts of God. That’s why we came to find you, because we need to teach you why God chose you to be one of the elect, and you shouldn’t glory in yourself because you could strike down your enemies. Rather you should give all glory to the Lord, praise his name, because we are his servants.”

I like to puked, I was so mad at that. Glory! Old Peleg, who was worth ten times these two phony white people who tossed me out before I ever sucked tit, and they thought I should give the glory for his terrible agony and death to God? I didn’t know God all that well, mostly because I thought of him as looking as pinched up and serious as Mrs. Bethel who taught Sunday School when I was little, until she died of leukemia, and I just never had a thing to say to God. But if God gave me that power to strike down Old Peleg, and God wanted the glory for it when I was done, then I did have a few words to say to God. Only I didn’t believe it for a minute. Old Peleg believed in God, and the God he believed in didn’t go striking an old black man dead because a dumb kid got pissed off at him.

But I’m getting off track in the story, because that was when my father touched me for the first time. His hand was shaking. And it had every right to shake, because I was so mad that a year ago he would’ve been bleeding from the colon before he took his hand away. But I’d got so I could keep from killing whoever touched me when I was mad, and the funny thing was that his hand shaking kind of changed how I felt anyway. I’d been thinking about how mad I was that they left me and how mad I was that they thought I’d be proud of killing people but now I realized how brave they was to come fetch me, cause how did they know I wouldn’t kill them? But they came anyway. And that’s something. Even if Papa Lem told them to do it, they came, and now I realized that it was real brave for Mama to come kiss me on the cheek right then, because if I was going to kill her, she touched me and gave me a chance to do it before she even tried to explain anything. Maybe it was her strategy to win me over or something, but it was still brave. And she also didn’t approve of people being proud of murder, which was more points in her favor. And she had the guts to tell me so right to my face. So I chalked up some points for Mama. She might look like as sickening as Tammy Bakker, but she faced her killer son with more guts than Daddy had.

He touched my shoulder and they led me to their car. A Lincoln Town Car, which they probably thought would impress me, but all I thought about was what it would’ve been like at the Children’s Home if we’d had the price of that car, even fifteen years ago. Maybe a paved basketball court. Maybe some decent toys that wasn’t broken-up hand-me-downs. Maybe some pants with knees in them. I never felt so poor in my life as when I slid onto that fuzzy seat and heard the stereo start playing elevator music in my ear.

There was somebody else in the car. Which made sense. If I’d killed them or something, they’d need somebody else to drive the car home, right? He wasn’t much, when it came to being dusty or sparky or whatever. Just a little, and in rhythms of fear, too. And I could see why he was scared, cause he was holding a blindfold in his hands, and he says, “Mr. Yow, I’m afraid I got to put this on you.”

Well, I didn’t answer for a second, which made him more scared cause he thought I was mad, but mostly it took me that long to realize he meant me when he said “Mr. Yow.”

“That’s our name, Son,” says my daddy. “I’m Jesse Yow, and your mother is Minnie Rae Yow, and that makes you Mick Yow.”

“Don’t it figure,” says I. I was joking, but they took it wrong, like as if I was making fun of their name. But I been Mick Winger so long that it just feels silly calling myself Yow, and the fact is it is a funny name. They said it like I should be proud of it, though, which makes me laugh, but to them it was the name of God’s Chosen People, like the way the Jews called themselves Israelites in the Bible. I didn’t know that then, but that’s the way they said it, real proud. And they was ticked off when I made a joke, so I helped them feel better by letting Billy put on—Billy’s the name of the man in the man in the car—put on the blindfold.

It was a lot of country roads, and a lot of country talk. About kinfolk I never met, and how I’d love this person and that person, which sounded increasingly unlikely to me, if you know what I mean. A long-lost child is coming home and you put a blindfold on him. I knew we were going mostly east, cause of the times I could feel the sun coming in my window and on the back of my neck, but that was about it, and that wasn’t much. They lied to me, they wouldn’t show me nothing, they was scared of me. I mean, any way you look at it, they wasn’t exactly killing the fatted calf for the prodigal son. I was definitely on probation. Or maybe even on trial. Which, I might point out, is exactly the way you been treating me, too, and I don’t like it much better now than I did then, if you don’t mind me putting some personal complaints into this. I mean, somewhere along the line somebody’s going to have to decide whether to shoot me or let me go, because I can’t control my temper forever locked up like a rat in a box, and the difference is a rat can’t reach out of the box and blast you the way I can, so somewhere along the way somebody’s going to have to figure out that you better either trust me or kill me. My personal preference is for trusting me, since I’ve given you more reason to trust me than you’ve given me to trust you so far.

But anyway I rode along in the car for more than an hour. We could have gotten to Winston or Greensboro or Danville by then, it was so long, and by the time we got there nobody was talking and from the snoring, Billy was even asleep. I wasn’t asleep, though. I was watching. Cause I don’t see sparks with my eyes, I see it with something else, like as if my sparks see other folks’ sparks, if you catch my drift, and so that blindfold might’ve kept me from seeing the road, but it sure didn’t keep me from seeing the other folks in the car with me. I knew right where they were, and right what they were feeling. Now, I’ve always had a knack for telling things about people, even when I couldn’t see nary a spark or nothing, but this was the first time I ever saw anybody who was sparky besides me. So I sat there watching how Mama and Daddy acted with each other even when they wasn’t touching or saying a thing, just little drifts of anger or fear or—well, I looked for love, but I didn’t see it, and I know what it looks like, cause I’ve felt it. They were like two armies camped on opposite hills, waiting for the truce to end at dawn. Careful. Sending out little scouting parties.

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