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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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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Father Michael argued and Uncle Avram stormed and fumed, but Mother Elouise silently went to the gate at moonrise one night and alone overpowered the guards. Silently she gagged them and bound them and opened the gates to the hungry tribesmen.

They came through weaponless, as she had insisted. They quietly went to the storehouses and carried off as much food as they could. They were found only as the last few fled. No one was killed.

But there was an uproar, a cry of treason, a trial, and an execution. They decided on beheading, because they thought it would be quick and merciful. They had never seen a beheading.

It was Jack Woods who used the ax. He practiced all afternoon with pumpkins. Pumpkins have no bones.

In the evening they all gathered to watch, some because they hated Mother Elouise, some because they loved her, and the rest because they could not stay away. I went also, and Father Michael held my head and would not let me see. But I heard.

Father Michael prayed for Mother Elouise. Mother Elouise damned his and everyone else’s soul to hell. She said, “If you kill me for bringing life, you will only bring death on your own heads.”

“That’s true,” said the men around her. “We will all die. But you will die first.”

“Then I’m the luckier,” said Mother Elouise. It was the last of her lies, for she was telling the truth, and yet she did not believe it herself, for I heard her weep. With her last breaths she wept and cried out, “Charlie! Charlie!” There are those who claim she saw a vision of Charlie waiting for her on the right hand of God, but I doubt it. She would have said so. I think she only wished to see him. Or wished for his forgiveness. It doesn’t matter. The angel had long since left her, and she was alone.

Jack swung the ax and it fell, more with a smack than a thud. He had missed her neck and struck deep in her back and shoulder. She screamed. He struck again and this time silenced her. But he did not break through her spine until the third blow. Then he turned away splattered with blood, and vomited and wept and pleaded with Father Michael to forgive him.

Amy stood a few meters away from Elouise, who sat on the grass of the clearing, looking toward a broken branch on the nearest tree. Amy called, “Mommy! Mommy!” Then she bounced up and down, bending and unbending her knees. “Da! Da!” she cried. “La la la la la.” She was dancing and wanted her mother to dance and sing, too. But Elouise only looked toward the tree, waiting for Charlie to appear. Any minute, she thought. He will be angry. He will be ashamed, she thought. But he will be alive.

In the distance, however, the air all at once was shining. Elouise could see it clearing because they were not far from the edge of the Rectifier field. It shimmered in the trees, where it caused no harm to plants. Any vertebrates within the field, any animals that lived by electricity passing along nerves, were instantly dead, their brains stilled. Birds dropped from tree limbs. Only insects droned on.

The Rectifier field lasted only minutes.

Amy watched the shining air. It was as if the empty sky itself were dancing with her. She was transfixed. She would soon forget the airplane, and already her father’s face was disappearing from her memories. But she would remember the shining. She would see it forever in her dreams, a vast thickening of the air, dancing and vibrating up and down, up an down. In her dreams it would always be the same, a terrible shining light that would grow and grow and grow and press against her in her bed. And always with it would come the sound of a voice she loved, saying, “Jesus. Jesus. Jesus.” This dream would come so clearly when she was twelve that she would tell it to her adopted father, the priest named Michael. He told her that it was the voice of an angel, speaking the name of the source of all light. “You must not fear the light,” he said. “You must embrace it.” It satisfied her.

But at the moment she first heard the voice, in fact and not in dream, she had no trouble recognizing it, it was the voice of her mother, Elouise, saying, “Jesus.” It was full of grief that only a child could fail to understand. Amy did not understand. She only tried to repeat the word, “Deeah-zah.”

“God,” said Elouise, rocking back and forth, her face turned up toward a heaven she was sure was unoccupied.

“Dog,” Amy repeated, “Dog dog doggie.” In vain she looked around for the four-footed beast.

“Charlie!” Elouise screamed as the Rectifier field faded.

“Daddy,” Amy cried, and because of her mother’s tears she also wept. Elouise took her daughter in her arms and held her, rocking back and forth. Elouise discovered that there were some things that could not be frozen in her. Some things that must burn: Sunlight. And lightning. And everlasting, inextinguishable regret.

My mother, Mother Elouise, often told me about my father. She described Father Charlie in detail, so I would not forget. She refused to let me forget anything. “It’s what Father Charlie died for,” she told me, over and over. “He died so you would remember. You cannot forget.”

So I still remember, even today, every word she told me about him. His hair was red, as mine was. His body was lean and hard. His smile was quick, like mine, and he had gentle hands. When his hair was long or sweaty, it kinked tightly at his forehead, ears, and neck. His touch was so delicate he could cut in half an animal so tiny it could not be seen without a machine; so sensitive that he could fly—an art that Mother Elouise said was not a miracle, since it could be done by many giants of the Golden Age, and they took with them many others who could not fly alone. This was Charlie’s gift. Mother Elouise said. She also told me that I loved him dearly.

But for all the words that she taught me, I still have no picture of my father in my mind. It is as if the words drove out the vision, as so often happens.

Yet I still hold that one memory of my father, so deeply hidden that I can neither lose it nor fully find it again. Sometimes I wake up weeping. Sometimes I wake up with my arms in the air, curved just so, and I remember that I was dreaming of embracing that large man who loved me. My arms remember how it feels to hold Father Charlie tight around the neck and cling to him as he carries his child. And when I cannot sleep, and the pillow seems to be always the wrong shape, it is because I am hunting for the shape of Father Charlie’s shoulder, which my heart remembers, though my mind cannot.

God put angels into Mother Elouise and Father Charlie, and they destroyed the world, for the cup of God’s indignation was full, and all the works of men become dust, but out of dust God makes men, and out of men and women, angels.

KlNGSMEAT

The gatekeeper recognized him and the gate fell away. The Shepherd put his ax and his crook into the bag at his belt and stepped out onto the bridge. As always he felt a rush of vertigo as he walked the narrow arch over the foaming acid of the moat. Then he was across and striding down the road to the village.

A child was playing with a dog on a grassy hillside. The Shepherd looked up at him, his fine dark face made bright by his eyes. The boy shrank back, and the Shepherd heard a woman’s voice cry out, “Back here, Derry, you fool!” The Shepherd walked on down the road as the boy retreated among the hayricks on the far slope. The Shepherd could hear the scolding: “Play near the castle again, and he’ll make kingsmeat of you.” Kingsmeat, thought the Shepherd. How the king does get hungry. The word had come down through the quick grapevine—steward to cook to captain to guard to shepherd and then he was dressed and out the door only minutes after the king had muttered, “For supper, what is your taste?” and the queen had fluttered all her arms and said, “Not stew again, I hope,” and the king had murmured as he picked up the computer printouts of the day, “Breast in butter,” and so now the Shepherd was out to harvest from the flock.

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