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

For him to ask our forgiveness was more than we could bear. We were full of far deeper and more terrible regrets, we thought, as we poured out our remorse for all that we did or failed to do that might have saved his life. When we were spent and silent at last, he put it all in proportion for us. “That’s OK. I’m just glad that you’re not mad at me.” And then he was gone.

We moved out that morning before daylight; good friends took us in, and Geoffrey and Emily got to open the presents they had been looking forward to for so long. Kristine’s and my parents all flew out from Utah and the people in our church joined us for the funeral. We gave no interviews to the press; neither did any of the other families. The police told only of the finding of the bodies and the confession. We didn’t agree to it; it’s as if everybody who knew the whole story also knew that it would be wrong to have it in headlines in the supermarket.

Things quieted down very quickly. Life went on. Most people don’t even know we had a child before Geoffrey. It wasn’t a secret. It was just too hard to tell. Yet, after all these years, I thought it should be told, if it could be done with dignity, and to people who might understand. Others should know how it’s possible to find light shining even in the darkest place. How even as we learned of the most terrible grief of our lives, Kristine and I were able to rejoice in our last night with our firstborn son, and how together we gave a good Christmas to those lost boys, and they gave as much to us.

In August 1988 I brought this story to the Sycamore Hill Writers Workshop. That draft of the story included a disclaimer at the end, a statement that the story was fiction, that Geoffrey is my oldest child and that no landlord of mine has ever done us harm. The reaction of the other writers at the workshop ranged from annoyance to fury.

Karen Fowler put it most succinctly when she said, as best I can remember her words, “By telling this story in first person with so much detail from your own life, you’ve appropriated something that doesn’t belong to you. You’ve pretended to feel the grief of a parent who has lost a child, and you don’t have a right to feel that grief.”

When she said that, I agreed with her. While this story had been rattling around in my imagination for years, I had only put it so firmly in first person the autumn before, at a Halloween party with the students of Watauga College at Appalachian State. Everybody was trading ghost stories that night, and so on a whim I tried out this one; on a whim I made it highly personal, partly because by telling true details from my own life I spared myself the effort of inventing a character, partly because ghost stories are most powerful when the audience half-believes they might be true. It worked better than any tale I’d ever told out loud, and so when it came time to write it down, I wrote it the same way.

Now, though, Karen Fowler’s words made me see it in a different moral light, and I resolved to change it forthwith. Yet the moment I thought of revising the story, of stripping away the details of my own life and replacing them with those of a made-up character, I felt a sick dread inside. Some part of my mind was rebelling against what Karen said. No, it was saying, she’s wrong, you do have a right to tell this story, to claim this grief.

I knew at that moment what this story was really about, why it had been so important to me. It wasn’t a simple ghost story at all; I hadn’t written it just for fun. I should have known—I never write anything just for fun. This story wasn’t about a fictional eldest child named “Scotty.” It was about my real-life youngest child, Charlie Ben.

Charlie, who in the five and a half years of his life has never been able to speak a word to us. Charlie, who could not smile at us until he was a year old, who could not hug us until he was four, who still spends his days and nights in stillness, staying wherever we put him, able to wriggle but not to run, able to call out but not to speak, able to understand that he cannot do what his brother and sister do, but not to ask us why. In short, a child who is not dead and yet can barely taste life despite all our love and all our yearning.

Yet in all the years of Charlie’s life, until that day at Sycamore Hill, I had never shed a single tear for him, never allowed myself to grieve. I had worn a mask of calm and acceptance so convincing that I had believed it myself. But the lies we live will always be confessed in the stories that we tell, and I am no exception. A story that I had fancied was a mere lark, a dalliance in the quaint old ghost-story tradition, was the most personal, painful story of my career—and, unconsciously, I had confessed as much by making it by far the most autobiographical of all my works.

Months later, I sat in a car in the snow at a cemetery in Utah, watching a man I dearly love as he stood, then knelt, then stood again at the grave of his eighteen-year-old daughter. I couldn’t help but think of what Karen had said; truly I had no right to pretend that I was entitled to the awe and sympathy we give to those who have lost a child. And yet I knew that I couldn’t leave this story untold, for that would also be a kind of lie. That was when I decided on this compromise: I would publish the story as I knew it had to be written, but then I would write this essay as an afterword, so that you would know exactly what was true and what was not true in it. Judge it as you will; this is the best that I know how to do.

Authors have no more story ideas than anyone else. We all live through or hear about thousands of story ideas a day. Authors are simply more practiced at recognizing them as having the potential to become stories.

The real challenge is to move from the idea through the process of inventing the characters and their surroundings, structuring the tale, and discovering the narrative voice and the point of view, and finally writing it all down in a way that will be clear and effective for the reader. That’s the part that separates people who wish they were writers or intend someday to write a book, and those of us who actually put the words down on paper and send them out in hope of finding an audience.

To the best of my memory, here are the origins of each of the stories in this book:

I was working at The Ensign magazine as an assistant editor and sometime staff writer. Jay A. Parry was copy editor there, as he had been at Brigham Young University Press, where my editorial career began. In fact, Jay was the one who alerted me to the possibility of applying for a position at The Ensign and helped shepherd me through the process.

He and I and another editor, Lane Johnson, all had dreams of being writers. I had already had something of a career as a playwright, but when it came to prose fiction we were all new. We started taking lunch together down in the cafeteria of the LDS Church Office Building in Salt Lake City, riding the elevators down from the twenty-third floor, grabbing a quick salad, and then hunching over a table talking stories.

Naturally, when we actually wrote the stories down, we showed them to each other. In many ways we were the blind leading the blind—none of us had sold anything when we began. Yet we were all professional editors; we all worked in a daily mill of taking badly written articles, restructuring them, and then rewriting them smoothly and clearly. We might not have known how to sell fiction, but we certainly knew how to write. And we also knew how to see other people’s work clearly and search for the soul of their story, in order to preserve that soul through any number of incarnations as text.