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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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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A roar of triumph was carried along the rock, and we knew that Stone was dead, his position overrun, and we had at best ten minutes before they were upon us. Da began kicking our gear off the edge of the cliff, and I helped. A keen eye could still tell that here we had disturbed the ground more than elsewhere; but it was, we hoped, enough to confuse them for just a little longer.

And then we began to climb the chimney. Da insisted that I climb first; he hoisted me into the crack, and I shimmied upward, bracing my back against one wall and my hands and feet against the other. Then I stopped, and using my leg as a handhold, he, too, clambered into the split in the rock.

Then we climbed, and the chimney was longer than we had thought, the sky more distant. Our progress was slow, and every motion kicked down rocks that clattered onto the ledge. We had not counted on that—the Golyny would notice the falling rocks, would see where we were, and we were not yet high enough to be impossible for arrows to reach.

And even as I realized that, it came true. We saw the flash of clothing passing under the chimney; though I could make out no detail, I could tell even in the silence that we had been found. We struggled upward. What else could we do?

And the first arrow came up the shaft. Shooting vertically is not easy—much must be unlearned. But the archer was good. And the third arrow struck Da, angling upward into his calf.

“Can you go on?” I asked.

“Yes,” he answered, and I climbed higher, with him following, seeming to be unslowed by the wound.

But the archer was not through, and the seventh rushing sound ended, not in a clatter, but in the dull sound of stone striking flesh. Involuntarily Da uttered a cry. Where I was I could see no wound, of course.

“Are you hit?”

“Yes, ”he answered. “In the groin. An artery, I believe. I’m losing blood too quickly.”

“Can you go on?”

“No.”

And using the last of his strength to hold himself in place with his legs alone (which must have been agony to his wounds), he took the bag of Crofe’s excrement from his neck and hung it carefully on my foot. In our cramped situation, nothing else was possible.

“I charge you,” he said in pain, “to take it to the altar.”

“It might fall,” I said honestly.

“It will not if you vow to take it to the altar.”

And because Da was dying from an arrow that might have struck me, and also because of Stone’s death and Pan’s and Fole’s and, yes, Crofe’s, I vowed that I would do it. And when I had said that, Da let go and plunged down the shaft.

I climbed as quickly as I could, knowing that the arrows might easily come again, as in fact they did. But I was higher all the time, and even the best archer couldn’t reach me.

I was only a dozen meters from the top, carefully balancing the bag of excrement from my foot as I climbed (every motion more painful than the last), when it occurred to me that Da was dead, and everyone else as well. What was to stop me now from dropping the bag, climbing to the top, signaling the lander to me, and climbing safely aboard? To preserve the contents of a man’s bowels and risk my life to perform a meaningless rite with it was absurd. No damage could be done by my failure to perform the task. No one would know, in fact, that I had vowed to do it. Indeed, completing the vow could easily be construed as unwarranted interference in planetary affairs.

Why didn’t I drop the bag? There are those who claim that I was insane, believing the religion (these are they who claim that I believe it still); but that is not true. I knew rationally that dead men do not watch the acts of the living, that vows made to the dead are not binding, that my first obligation was to myself and the corporation, and certainly not to Da or Crofe.

But regardless of my rational process, even as I thought of dropping the bag I felt the utter wrongness of it. I could not do it and still remain myself. This is mystical, perhaps, but there was nowhere in my mind that I could fail to fulfill my oath and still live. I have broken my word frequently for convenience—I am, after all, a modern man. But in this case, at that time, despite my strong desire for survival, I could not tip my foot downward and let the bag drop.

And after that moment of indecision, I did not waver.

I reached the top utterly exhausted, but sat on the brink of the chimney and reached down to remove the bag from my foot. The leaning forward after so much exertion in an inexorably vertical position made me lightheaded; the bag almost slipped from my grasp, almost fell; I caught it at the end of my toe and pulled it, trembling, to my lap. It was light, surprisingly light. I set it on the ground and pulled myself out of the chimney, crawled wearily a meter or two away from the edge of the cliff, and then looked ahead of me. There was the peak, not a hundred meters away. On it I could easily see an altar hewn out of stone. The design was not familiar to me, but it could serve the purpose, and it was the only artifact in sight.

But between me and the peak was a gentle downward slope before the upward slope began again, leading to the altar. The slopes were all gentle here, but I realized that a thin coat of ice covered all the rocks; indeed, covered the rock only a few meters on from me. I didn’t understand why at the time; afterward the men in the lander told me that for half an hour, while I was in the chimney on the west face, a mist had rolled over the top of the peak, and when it had left, only a few minutes before I surfaced, it had left the film of ice.

But ice was part of my vow, part of the rite, and I scraped some up, broke some off with the handle of my needle, and put it in my mouth.

It was dirty with the grit of the rock, but it was cold and it was water and I felt better for having tasted it. And I felt nothing but relief at having completed part of my vow—it did not seem incongruous at the time that I should be engaging in magic.

Then I struggled to my feet and began to walk clumsily across the space between me and the peak, holding the bag in my hands and slipping frequently on the icy rocks.

I heard shouting below me. I looked down and saw the Golyny on the south slope, hundreds of meters away. They would not be able to reach the peak before me. I took some comfort in that even as the arrows began to hunt for my range.

They found it, and when I tried to move to the north to avoid their fire, I discovered that the Golyny on that side had been alerted by the noise, and they, too, were firing at me.

I had thought I was traveling as fast as I could already; now I began to run toward the peak. Yet running made me slip more, and I scarcely made any faster progress than I had before. It occurs to me now that perhaps it was just that irregular pattern of running quickly and then falling, rising and running again, and falling again, that saved my life; surely it confused the archers.

A shadow passed over me twice as I made the last run to the peak; perhaps I realized that it was the lander, perhaps not. I could have, even then, opted for a rescue. Instead, I fell again and dropped the bag, watched it slide a dozen meters down the south slope, where the Golyny were only a few dozen meters away and closing in (although they, too, were slowed by the ice).

And so I descended into the arrows and retrieved the bag. I was struck in the thigh and in the side; they burned with pain, and I almost fainted then, from the sheer surprise of it. Somehow primitive weapons seem wrong; they shouldn’t be able to do damage to a modern man. The shock of the pain they bring is therefore all the greater. Yet I did not faint. I got up and struggled back up the slope, and now I was only a little way from the altar, it was just ahead, it was within a few steps, and at last I fell on it, my wounds throwing blood onto the ground and onto the altar itself. Vaguely I realized that another part of the rite had thus been completed, and as the lander came to rest behind me, I took the bag, opened it, scooped out the still-damp contents, and smeared them on the altar.

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