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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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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She sat in the Audi, shaking, her body heaving in great sobs of relief and shock at what had happened. Relief and shock, yes. But by now she knew that the shuddering was more than that. It was also ecstacy.

This has to stop, she cried out silently to herself. Four, four, four. “Four is enough,” she said, beating on the steering wheel. Then she got control of herself, and the orgasm passed except for the trembling in her thighs and occasional cramps, and she jockeyed the car until it was turned around, and she headed back down the canyon to Salt Lake City, where she was already an hour late.

A SEPULCHRE OF SONGS

She was losing her mind during the rain. For four weeks it came down nearly every day, and the people at the Millard County Rest Home didn’t take any of the patients outside. It bothered them all, of course, and made life especially hellish for the nurses, everyone complaining to them constantly and demanding to be entertained.

Elaine didn’t demand entertainment, however. She never seemed to demand much of anything. But the rain hurt her worse than anyone. Perhaps because she was only fifteen, the only child in an institution devoted to adult misery. More likely because she depended more than most on the hours spent outside; certainly she took more pleasure from them. They would lift her into her chair, prop her up with pillows so her body would stay straight, and then race down the corridor to the glass doors, Elaine calling, “Faster, faster,” as they pushed her until finally they were outside. They told me she never really said anything out there. Just sat quietly in her chair on the lawn, watching everything. And then later in the day they would wheel her back in.

I often saw her being wheeled in—early, because I was there, though she never complained about my visits’ cutting into her hours outside. As I watched her being pushed toward the rest home, she would smile at me so exuberantly that my mind invented arms for her, waving madly to match her childishly delighted face; I imagined legs pumping, imagined her running across the grass, breasting the air like great waves. But there were the pillows where arms should be, keeping her from falling to the side, and the belt around her middle kept her from pitching forward, since she had no legs to balance with.

It rained four weeks, and I nearly lost her.

My job was one of the worst in the state, touring six rest homes in as many counties, visiting each of them every week. I “did therapy” wherever the rest home administrators thought therapy was needed. I never figured out how they decided—all the patients were mad to one degree or another, most with the helpless insanity of age, the rest with the anguish of the invalid and the crippled.

You don’t end up as a state-employed therapist if you had much ability in college. I sometimes pretend that I didn’t distinguish myself in graduate school because I marched to a different drummer. But I didn’t. As one kind professor gently and brutally told me, I wasn’t cut out for science. But I was sure I was cut out for the art of therapy. Ever since I comforted my mother during her final year of cancer I had believed I had a knack for helping people get straight in their minds. I was everybody’s confidant.

Somehow I had never supposed, though, that I would end up trying to help the hopeless in a part of the state where even the healthy didn’t have much to live for. Yet that’s all I had the credentials for, and when I (so maturely) told myself I was over the initial disappointment, I made the best of it.

Elaine was the best of it.

“Raining raining raining,” was the greeting I got when I visited her on the third day of the wet spell.

“Don’t I know it?” I said. “My hair’s soaking wet.”

“Wish mine was,” Elaine answered.

“No, you don’t. You’d get sick.”

“Not me,” she said.

“Well, Mr. Woodbury told me you’re depressed. I’m supposed to make you happy.”

“Make it stop raining.”

“Do I look like God?”

“I thought maybe you were in disguise. I’m in disguise,” she said. It was one of our regular games. “I’m really a large Texas armadillo who was granted one wish. I wished to be a human being. But there wasn’t enough of the armadillo to make a full human being; so here I am.” She smiled. I smiled back.

Actually, she had been five years old when an oil truck exploded right in front of her parents’ car, killing both of them and blowing her arms and legs right off. That she survived was a miracle. That she had to keep on living was unimaginable cruelty. That she managed to be a reasonably happy person, a favorite of the nurses—that I don’t understand in the least. Maybe it was because she had nothing else to do. There aren’t many ways that a person with no arms or legs can kill herself.

“I want to go outside,” she said, turning her head away from me to look out the window.

Outside wasn’t much. A few trees, a lawn, and beyond that a fence, not to keep the inmates in but to keep out the seamier residents of a rather seamy town. But there were low hills in the distance, and the birds usually seemed cheerful. Now, of course, the rain had driven both birds and hills into hiding. There was no wind, and so the trees didn’t even sway. The rain just came straight down.

“Outer space is like the rain,” she said. “It sounds like that out there, just a low drizzling sound in the background of everything.”

“Not really,” I said. “There’s no sound out there at all.”

“How do you know?” she asked.

“There’s no air. Can’t be any sound without air.”

She looked at me scornfully. “Just as I thought. You don’t really know. You’ve never been there, have you?”

“Are you trying to pick a fight?”

She started to answer, caught herself, and nodded. “Damned rain.”

“At least you don’t have to drive in it,” I said. But her eyes got wistful, and I knew I had taken the banter too far. “Hey,” I said. “First clear day I’ll take you out driving.”

“It’s hormones,” she said.

“What’s hormones?”

“I’m fifteen. It always bothered me when I had to stay in. But I want to scream. My muscles are all bunched up, my stomach is all tight, I want to go outside and scream. It’s hormones.”

“What about your friends?” I asked.

“Are you kidding? They’re all out there, playing in the rain.”

“All of them?”

“Except Grunty, of course. He’d dissolve.”

“And where’s Grunty?”

“In the freezer, of course.”

“Someday the nurses are going to mistake him for ice cream and serve him to the guests.”

She didn’t smile. She just nodded, and I knew that I wasn’t getting anywhere. She really was depressed.

I asked her whether she wanted something.

“No pills,” she said. “They make me sleep all the time.”

“If I gave you uppers, it would make you climb the walls.”

“Neat trick,” she said.

“It’s that strong. So do you want something to take your mind off the rain and these four ugly yellow walls?”

She shook her head. “I’m trying not to sleep.”

“Why not?”

She just shook her head again. “Can’t sleep. Can’t let myself sleep too much.”

I asked again.

“Because,” she said, “I might not wake up.” She said it rather sternly, and I knew I shouldn’t ask anymore. She didn’t often get impatient with me, but I knew this time I was coming perilously close to overstaying my welcome.

“Got to go,” I said. “You will wake up.” And then I left, and I didn’t see her for a week, and to tell the truth I didn’t think of her much that week, what with the rain and a suicide in Ford County that really got to me, since she was fairly young and had a lot to live for, in my opinion. She disagreed and won the argument the hard way.

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