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Orson Card: Maps in a Mirror: The Short Fiction of Orson Scott Card

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Orson Card Maps in a Mirror: The Short Fiction of Orson Scott Card
  • Название:
    Maps in a Mirror: The Short Fiction of Orson Scott Card
  • Автор:
  • Издательство:
    Tom Doherty Associates
  • Жанр:
  • Год:
    2004
  • Город:
    New York
  • Язык:
    Английский
  • ISBN:
    9780765308405, 0-312-85047-6
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    4 / 5
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Maps in a Mirror: The Short Fiction of Orson Scott Card: краткое содержание, описание и аннотация

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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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Then a weight dropped onto his head and shoulders from above, and he felt the suction flippers tugging at his face, at his head. He almost screamed. But he didn’t want to arouse anyone. Somehow the child had not drowned after all, had crawled out of the toilet, and had waited over the door for Howard to return.

Once again the struggle resumed, and once again Howard pried the flippers away with the help of the toilet stall, though this time he was hampered by the fact that the child was behind and above him. It was exhausting work. He had to set down the knife so he could use both hands, and another dozen wounds stung bitterly by the time he had the child on the floor. As long as the child lay on its stomach, Howard could seize it from behind. He took it by the neck with one hand and picked up the knife with the other. He carried both to the toilet.

He had to flush twice to handle the flow of blood and pus. Howard wondered if the child was infected with some disease—the white fluid was thick and at least as great in volume as the blood. Then he flushed seven more times to take the pieces of the creature down the drain. Even after death, the suction pads clung tightly to the porcelain; Howard pried them off with the knife.

Eventually, the child was completely gone. Howard was panting with the exertion, nauseated at the stench and horror of what he had done. He remembered the smell of his dog’s guts after the car hit it, and he threw up everything he had eaten at the party. Got the party out of his system, felt cleaner; took a shower, felt cleaner still. When he was through, he made sure the bathroom showed no sign of his ordeal.

Then he went to bed.

It wasn’t easy to sleep. He was too keyed up. He couldn’t take out of his mind the thought that he had committed murder (not murder, not murder, simply the elimination of something too foul to be alive). He tried thinking of a dozen, a hundred other things. Projects at work—but the designs kept showing flippers. His children—but their faces turned to the intense face of the struggling monster he had killed. Alice—ah, but Alice was harder to think of than the creature.

At last he slept, and dreamed, and in his dream remembered his father, who had died when he was ten. Howard did not remember any of his standard reminiscences. No long walks with his father, no basketball in the driveway, no fishing trips. Those things had happened, but tonight, because of the struggle with the monster, Howard remembered darker things that he had long been able to keep hidden from himself.

“We can’t afford to get you a ten-speed bike, Howie. Not until the strike is over.”

“I know, Dad. You can’t help it.” Swallow bravely. “And I don’t mind. When all the guys go riding around after school, I’ll just stay home and get ahead on my homework.”

“Lots of boys don’t have ten-speed bikes, Howie.”

Howie shrugged, and turned away to hide the tears in his eyes. “Sure, lot of them. Hey, Dad, don’t you worry about me. Howie can take care of himself.”

Such courage. Such strength. He had got a ten-speed within a week. In his dream, Howard finally made a connection he had never been able to admit to himself before. His father had a rather elaborate ham radio setup in the garage. But about that time he had become tired of it, he said, and he sold it off and did a lot more work in the yard and looked bored as hell until the strike was over and he went back to work and got killed in an accident in the rolling mill.

Howard’s dream ended madly, with him riding piggy-back on his father’s shoulders as the monster had ridden on him, tonight—and in his hand was a knife, and he was stabbing his father again and again in the throat.

He awoke in early morning light, before his alarm rang, sobbing weakly and whimpering, “I killed him, I killed him, I killed him.”

And then he drifted upward out of sleep and saw the time. Six-thirty. “A dream,” he said. And the dream had woken him early, too early, with a headache and sore eyes from crying. The pillow was soaked. “A hell of a lousy way to start the day,” he mumbled. And, as was his habit, he got up and went to the window and opened the curtain.

On the glass, suction cups clinging tightly, was the child.

It was pressed close, as if by sucking very tightly it would be able to slither through the glass without breaking it. Far below were the honks of early morning traffic, the roar of passing trucks: but the child seemed oblivious to its height far above the street, with no ledge to break its fall. Indeed, there seemed little chance it would fall. The eyes looked closely, piercingly at Howard.

Howard had been prepared to pretend that the night before had been another terribly realistic nightmare.

He stepped back from the glass, watched the child in fascination. It lifted a flipper, planted it higher, pulled itself up to a new position where it could stare at Howard eye to eye. And then, slowly and methodically, it began beating on the glass with its head.

The landlord was not generous with upkeep on the building. The glass was thin, and Howard knew that the child would not give up until it had broken through the glass so it could get to Howard.

He began to shake. His throat tightened. He was terribly afraid. Last night had been no dream. The fact that the child was here today was proof of that. Yet he had cut the child into small pieces. It could not possibly be alive. The glass shook and rattled with every blow the child’s head struck.

The glass slivered in a starburst from where the child had hit it. The creature was coming in. And Howard picked up the room’s one chair and threw it at the child, threw it at the window. Glass shattered and the sun dazzled on the fragments as they exploded outward like a glistening halo around the child and the chair.

Howard ran to the window, looked out, looked down and watched as the child landed brutally on the top of a large truck. The body seemed to smear as it hit, and fragments of the chair and shreds of glass danced around the child and bounced down into the street and the sidewalk.

The truck didn’t stop moving; it carried the broken body and the shards of glass and the pool of blood on up the street, and Howard ran to the bed, knelt beside it, buried his face in the blanket, and tried to regain control of himself. He had been seen. The people in the street had looked up and seen him in the window. Last night he had gone to great lengths to avoid discovery, but today discovery was impossible to avoid. He was ruined. And yet he could not, could never have let the child come into the room.

Footsteps on the stairs. Stamping up the corridor. Pounding on the door. “Open up! Hey in there!”

If I’m quiet long enough, they’ll go away, he said to himself, knowing it was a lie. He must get up, must answer the door. But he could not bring himself to admit that he ever had to leave the safety of his bed.

“Hey, you son-of-a-bitch—” The imprecations went on but Howard could not move until, suddenly, it occurred to him that the child could be under the bed, and as he thought of it he could feel the tip of the flipper touching his thigh, stroking and ready to fasten itself—

Howard leaped to his feet and rushed for the door. He flung it wide, for even if it was the police come to arrest him, they could protect him from the monster that was haunting him.

It was not a policeman at the door. It was the man on the first floor who collected rent. “You son-of-a-bitch irresponsible pig-kisser!” the man shouted, his toupee only approximately in place. “That chair could have hit somebody! That window’s expensive! Out! Get out of here, right now, I want you out of this place, I don’t care how the hell drunk you are—”

“There was—there was this thing on the window, this creature—”

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