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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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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I never saw Dog so scared. That’s the only reason we went to the feds ourselves. We didn’t ever want to stool, but we needed their protection plan, it was our only hope. So we offered to testify how we did it, not even for immunity, just so they’d change our faces and put us in a safe jail somewhere to work off the sentence and come out alive, you know? That’s all we wanted.

But the feds, they laughed at us. They had the inside guy, see, and he was going to get immunity for testifying. “We don’t need you,” they says to us, “and we don’t care if you go to jail or not. It was the big guys we wanted.”

“If you let us walk,” says Doggy, “then they’ll think we set them up.”

“Make us laugh,” says the feds. “Us work with street poots like you? They know that we don’t stoop so low.”

“They bought from us,” says Doggy. “If we’re big enough for them, we’re big enough for the dongs.”

“Do you believe this?” says one fed to his identical junior officer. “These jollies are begging us to take them into jail. Well listen tight, my jolly boys, maybe we don’t want to add you to the taxpayers’ expense account, did you think of that? Besides, all we’d give you is time, but on the street, those boys will give you time and a half, and it won’t cost us a dime.”

So what could we do? Doggy just looks like somebody sucked out six pints, he’s so white. On the way out of the fedhouse, he says, “Now we’re going to find out what it’s like to die.”

And I says to him, “Walker, they stuck no gun in your mouth yet, they shove no shiv in your eye. We still breathing, we got legs, so let’s walk out of here.”

“Walk!” he says. “You walk out of G-boro, glasshead, and you bump into trees.”

“So what?” says I. “I can plug in and pull out all the data we want about how to live in the woods. Lots of empty land out there. Where do you think the marijuana grows?”

“I’m a city boy,” he says. “I’m a city boy.” Now we’re standing out in front, and he’s looking around. “In the city I got a chance, I know the city.”

“Maybe in New York or Dallas,” says I, “but G-boro’s just too small, not even half a million people, you can’t lose yourself deep enough here.”

“Yeah well,” he says, still looking around. “It’s none of your business now anyway, Goo Boy. They aren’t blaming you, they’re blaming me.”

“But it’s my fault,” says I, “and I’m staying with you to tell them so.”

“You think they’re going to stop and listen?” says he.

“I’ll let them shoot me up with speakeasy so they know I’m telling the truth.”

“It’s nobody’s fault,” says he. “And I don’t give a twelve-inch poker whose fault it is anyway. You’re clean, but if you stay with me you’ll get all muddy, too. I don’t need you around, and you sure as hell don’t need me. Job’s over. Done. Get lost.”

But I couldn’t do that. The same way he couldn’t go on walking dogs, I couldn’t just run off and leave him to eat my mistake. “They know I was your P-word man,” says I. “They’ll be after me, too.”

“Maybe for a while, Goo Boy. But you transfer your twenty percent into Bobby Joe’s Face Shop, so they aren’t looking for you to get a refund, and then stay quiet for a week and they’ll forget all about you.”

He’s right but I don’t care. “I was in for twenty percent of rich,” says I. “So I’m in for fifty percent of trouble.”

All of a sudden he sees what he’s looking for. “There they are, Goo Boy, the dorks they sent to hit me. In that Mercedes.” I look but all I see are electrics. Then his hand is on my back and he gives me a shove that takes me right off the portico and into the bushes, and by the time I crawl out, Doggy’s nowhere in sight. For about a minute I’m pissed about getting scratched up in the plants, until I realize he was getting me out of the way, so I wouldn’t get shot down or hacked up or lased out, whatever it is they planned to do to him to get even.

I was safe enough, right? I should’ve walked away, I should’ve ducked right out of the city. I didn’t even have to refund the money. I had enough to go clear out of the country and live the rest of my life where even Occipital Crime couldn’t find me.

And I thought about it. I stayed the night in Mama Pimple’s flophouse because I knew somebody would be watching my own place. All that night I thought about places I could go. Australia. New Zealand. Or even a foreign place, I could afford a good vocabulary crystal so picking up a new language would be easy.

But in the morning I couldn’t do it. Mama Pimple didn’t exactly ask me but she looked so worried and all I could say was, “He pushed me into the bushes and I don’t know where he is.”

And she just nods at me and goes back to fixing breakfast. Her hands are shaking she’s so upset. Because she knows that Dogwalker doesn’t stand a chance against Orphan Crime.

“I’m sorry,” says I.

“What can you do?” she says. “When they want you, they get you. If the feds don’t give you a new face, you can’t hide.”

“What if they didn’t want him?” says I.

She laughs at me. “The story’s all over the street. The arrests were in the news, and now everybody knows the big boys are looking for Walker. They want him so bad the whole street can smell it.”

“What if they knew it wasn’t his fault?” says I. “What if they knew it was an accident? A mistake?”

Then Mama Pimple squints at me—not many people can tell when she’s squinting, but I can—and she says, “Only one boy can tell them that so they’ll believe it.”

“Sure, I know,” says I.

“And if that boy walks in and says, Let me tell you why you don’t want to hurt my friend Dogwalker—”

“Nobody said life was safe,” I says. “Besides, what could they do to me that’s worse than what already happened to me when I was nine?”

She comes over and just puts her hand on my head, just lets her hand lie there for a few minutes, and I know what I’ve got to do.

So I did it. Went to Fat Jack’s and told him I wanted to talk to Junior Mint about Dogwalker, and it wasn’t thirty seconds before I was hustled on out into the alley and driven somewhere with my face mashed into the floor of the car so I couldn’t tell where it was. Idiots didn’t know that somebody as vertical as me can tell the number of wheel revolutions and the exact trajectory of every curve. I could’ve drawn a freehand map of where they took me. But if I let them know that, I’d never come home, and since there was a good chance I’d end up dosed with speakeasy, I went ahead and erased the memory. Good thing I did—that was the first thing they asked me as soon as they had the drug in me.

Gave me a grown-up dose, they did, so I practically told them my whole life story and my opinion of them and everybody and everything else, so the whole session took hours, felt like forever, but at the end they knew, they absolutely knew that Dogwalker was straight with them, and when it was over and I was coming up so I had some control over what I said, I asked them, I begged them, Let Dogwalker live. Just let him go. He’ll give back the money, and I’ll give back mine, just let him go.

“OK,” says the guy.

I didn’t believe it.

“No, you can believe me, we’ll let him go.”

“You got him?”

“Picked him up before you even came in. It wasn’t hard.”

“And you didn’t kill him?”

“Kill him? We had to get the money back first, didn’t we, so we needed him alive till morning, and then you came in, and your little story changed our minds, it really did, you made us feel all sloppy and sorry for that poor old pimp.”

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