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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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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His body was not under control. Intellectually, he knew that he could not possibly reach the floor, knew that this death would be temporary, but right now his mind was not having much influence over his body. His legs kicked and struggled to reach the ground. His hands strained at the rope behind him. And all the exertion only made his eyes bulge more with the pressure of the blood that could not get past the rope; only made him need air more desperately.

There was no help for him, but now he tried to scream for help. The sound now escaped his throat—but at the cost of air. He felt as if his tongue were being pushed up into his nose. His kicking grew more violent, though every kick was agony. He spun on the rope; he caught a glimpse of himself in the mirror. His face was turning purple.

How long will it be? Surely not much longer!

But it was much longer.

If he had been underwater, holding his breath, he would now have given up and drowned.

If he had a gun and a free hand, he would kill himself now to end this agony and the sheer physical terror of being unable to breathe. But he had no gun, and there was no question of inhaling, and the blood throbbed in his head and made his eyes see everything in shades of red, and finally he saw nothing at all.

Saw nothing, except what was going through his mind, and that was a jumble, as if his consciousness were madly trying to make some arrangement that would eliminate the strangulation. He kept seeing himself in the creek behind his house, where he had fallen in when he was a child, and someone was throwing him a rope, but he couldn’t and he couldn’t and he couldn’t catch it, and then suddenly it was around his neck and dragging him under.

Spots of black stabbed at his eyes. His body felt bloated, and then it erupted, his bowel and bladder and stomach ejecting all that they contained, except that his vomit was stopped at his throat, where it burned.

The shaking of his body turned into convulsive jerks and spasms, and for a moment Jerry felt himself reaching the welcome state of unconsciousness. Then, suddenly, he discovered that death is not so kind.

There is no such thing as slipping off quietly in your sleep. No such thing as being “killed immediately” or having death mercifully end the pain.

Death woke him from his unconsciousness, for perhaps a tenth of a second. But that tenth of a second was infinite, and in it he experienced the infinite agony of impending nonexistence. His life did not flash before his eyes. The lack of life instead exploded, and in his mind he experienced far greater pain and fear than anything he had felt from the mere hanging.

And then he died.

For an instant he hung in limbo, feeling and seeing nothing. Then a light stabbed at his eyes and soft foam peeled away from his skin and the prosecutor stood there, watching as he gasped and retched and clutched at his throat. It seemed incredible that he could now breathe, and if he had experienced only the strangling, he might now sigh with relief and say, “I’ve been through it once, and now I’m not afraid of death.” But the strangling was nothing. The strangling was a prelude. And he was afraid of death.

They forced him to come into the room where he had died. He saw his body hanging, black-faced, from the ceiling, the helmet still on the head, the tongue protruding.

“Cut it down,” the prosecutor said, and for a moment Jerry waited for the guards to obey. Instead, a guard handed Jerry a knife.

With death still heavy in his mind, Jerry swung around and lunged at the prosecutor. But a guard caught his hand in an irresistible grip, and the other guard held a pistol pointed at Jerry’s head.

“Do you want to die again so soon?” asked the prosecutor, and Jerry whimpered and took the knife and reached up to cut himself down from the noose. In order to reach above the knot, he had to stand close enough to the corpse to touch it. The stench was incredible. And the fact of death was unavoidable. Jerry trembled so badly he could hardly control the knife, but eventually the rope parted and the corpse slumped to the ground, knocking Jerry down as it fell. An arm lay across Jerry’s legs. The face looked at Jerry eye-to-eye.

Jerry screamed.

“You see the camera?”

Jerry nodded, numbly.

“You will look at the camera and you will apologize for having done anything against the government that has brought peace to the earth.”

Jerry nodded again, and the prosecutor said, “Roll it.”

“Fellow Americans,” Jerry said, “I’m sorry. I made a terrible mistake. I was wrong. There’s nothing wrong with the Russians. I let an innocent man be killed. Forgive me. The government has been kinder to me than I deserve.” And so on. For an hour Jerry babbled, insisting that he was craven, that he was guilty, that he was worthless, that the government was vying with God for respectability.

And when he was through, the prosecutor came back in, shaking his head.

“Mr. Crove, you can do better than that.”

“Nobody in the audience believed you for one minute. Nobody in the test sample, not one person, believed that you were the least bit sincere. You still think the government ought to be deposed. And so we have to try the treatment again.”

“Let me try to confess again.”

“A screen test is a screen test, Mr. Crove. We have to give you a little more experience with death before we can permit you to have any involvement with life.”

This time Jerry screamed right from the beginning. He made no attempt at all to bear it well. They hung him by the armpits over a long cylinder filled with boiling oil. They slowly lowered him. Death came when the oil was up to his chest—by then his legs had been completely cooked and the meat was falling off the bones in large chunks.

They made him come in and, when the oil had cooled enough to touch, fish out the pieces of his own corpse.

He wept all through his confession this time, but the test audience was completely unconvinced. “The man’s a phony,” they said. “He doesn’t believe a word of what he’s saying.”

“We have a problem,” said the prosecutor. “You seem so willing to cooperate after your death. But you have reservations. You aren’t speaking from the heart. We’ll have to help you again.”

Jerry screamed and struck out at the prosecutor. When the guards had pulled him away (and the prosecutor was nursing an injured nose), Jerry shouted, “Of course I’m lying! No matter how often you kill me it won’t change the fact that this is a government of fools by vicious, lying bastards!”

“On the contrary,” said the prosecutor, trying to maintain his good manners and cheerful demeanor despite the blood pouring out of his nose, “if we kill you enough, you’ll completely change your mind.”

“You can’t change the truth!”

“We’ve changed it for everyone else who’s gone through this. And you are far from being the first who had to go to a third clone. But this time, Mr. Crove, do try to forget about being a hero.”

They skinned him alive, arms and legs first, and then, finally, they castrated him and ripped the skin off his belly and chest. He died silently when they cut his larynx out—no, not silently. Just voiceless. He found that without a voice he could still whisper a scream that rang in his ears when he awoke and was forced to go in and carry his bloody corpse to the disposal room. He confessed again, and the audience was not convinced.

They slowly crushed him to death, and he had to scrub the blood out of the crusher when he awoke, but the audience only commented. “Who does the jerk think he’s fooling?”

They disemboweled him and burned his guts in front of him. They infected him with rabies and let his death linger for two weeks. They crucified him and let exposure and thirst kill him. They dropped him a dozen times from the roof of a one-story building until he died.

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