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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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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“Help me,” Hiram said.

“How can I help you?”

“You can change my life. You can get the television out of my apartment.”

“Why, Mr. Cloward?” the Aryan asked. “It’s the one thing in life that’s absolutely free. Except that you get to watch commercials. And you know as well as I do that the commercials are downright entertaining. Why, there are people who actually choose to have double the commercials in their personal programming. We get a thousand requests a day for the latest McDonald’s ad. You have no idea.”

“I have a very good idea. I want to read. I want to be alone.”

“On the contrary, Mr. Cloward, you long not to be alone. You desperately need a friend.”

Anger. “And what makes you so damn sure of that?”

“Because, Mr. Cloward, your response is completely typical of your group. It’s a group we’re very concerned about. We don’t have a budget to program for you—there are only about two thousand of you in the country—but a budget wouldn’t do us much good because we really don’t know what kind of programming you want.”

“I am not part of any group.”

“Oh, you’re so much a part of it that you could be called typical. Dominant mother, absent and/or hostile father, no long-term relationships with anybody. No sex life.”

“I have a sex life.”

“If you have in fact attempted any sexual activity it was undoubtedly with a prostitute and she expected too high a level of sophistication from you. You are easily ashamed, you couldn’t cope, and so you have not had intercourse. Correct?”

“What are you! What are you trying to do to me!”

“I am a psychoanalyst, of course. Anybody whose complaints can’t be handled by our bureaucratic authority figure out in front obviously needs help, not another bureaucrat. I want to help you. I’m your friend.”

And suddenly the anger was replaced by the utter incongruity of this nordic masterman wanting to help little Hiram Cloward. The unemployed professor laughed.

“Humor! Very healthy!” said the Aryan.

“What is this? I thought shrinks were supposed to be subtle.”

“With some people—notably paranoids, which you are not, and schizoids, which you are not either.”

“And what am I?”

“I told you. Denial and repression strategies. Very unhealthy. Acting out—less healthy yet. But you’re extremely intelligent, able to do many things. I personally think it’s a damn shame you can’t teach.”

“I’m an excellent teacher.”

“Tests with randomly selected students showed that you had an extremely heavy emphasis on esoterica. Only people like you would really enjoy a class from a person like you. There aren’t many people like you. You don’t fit into many of the normal categories.”

“And so I’m being persecuted.”

“Don’t try to pretend to be paranoid.” The Aryan smiled. Hiram smiled back. This is insane. Lewis Carroll, where are you now that we really need you?

“If you’re a shrink, then I should talk freely to you.”

“If you like.”

“I don’t like.”

“And why not?”

“Because you’re so godutterlydamn Aryan, that’s why.”

The Aryan leaned forward with interest. “Does that bother you?”

“It makes me want to throw up.”

“And why is that?”

The look of interest was too keen, too delightful. Hiram couldn’t resist. “You don’t know about my experiences in the war, then, is that it?”

“What war? There hasn’t been a war recently enough—”

“I was very, very young. It was in Germany. My parents aren’t really my parents, you know. They were in Germany with the American embassy. In Berlin in 1938, before the war broke out. My real parents were there, too—German Jews, or half Jews, anyway. My real father—but let that pass, you don’t need my whole genealogy. Let’s just say that when I was only eleven days old, totally unregistered, my real Jewish father took me to his friend, Mr. Cloward in the American embassy, whose wife had just had a miscarriage. Take my child,’ he said.

“‘Why?’ Cloward asked.

“‘Because my wife and I have a perfect, utterly foolproof plan to kill Hitler. But there is no way for us to survive it.’ And so Cloward, my adopted father, took me in.

“And then, the next day, he read in the papers about how my real parents had been killed in an ‘accident’ in the street. He investigated—and discovered that just by chance, while my parents were on their way to carry out their foolproof plan, some brown shirts in the street had seen them. Someone pointed them out as Jews. They were bored—so they attacked them. Had no idea they were saving Hitler’s life, of course. These nordic mastermen started beating my mother, forcing my father to watch as they stripped her and raped her and then disemboweled her. My father was then subjected to experimental use of the latest model testicle-crusher until he bit off his own tongue in agony and bled to death. I don’t like nordic types.” Hiram sat back, his eyes full of tears and emotion, and realized that he had actually been able to cry—not much, but it was hopeful.

“Mr. Cloward,” said the Aryan, “you were born in Missouri in 1951. Your parents of record are your natural parents.”

Hiram smiled. “But it was one hell of a Freudian fantasy, wasn’t it? My mother raped, my father emasculated to death, myself divorced from my true heritage, etc., etc.”

The Aryan smiled. “You should be a writer, Mr. Cloward.”

“I’d rather read. Please, let me read.”

“I can’t stop you from reading.”

“Turn off Sarah Wynn. Turn off the mansions from which young girls flee from the menace of a man who turns out to be friendly and loving. Turn off the commercials for cars and condoms.”

“And leave you alone to wallow in cataleptic fantasies among your depressing Russian novels?”

Hiram shook his head. Am I begging? he wondered. Yes, he decided. “I’m begging. My Russian novels aren’t depressing. They’re exalting, uplifting, overwhelming.”

“It’s part of your sickness, Mr. Cloward, that you long to be overwhelmed.”

“Every time I read Dostoevski, I feel fulfilled.”

“You have read everything by Dostoevski twenty times over. And everything by Tolstoy a dozen times.”

“Every time I read Dostoevski is the first time!”

“We can’t leave you alone.”

“I’ll kill myself!” Hiram shouted. “I can’t live like this much longer!”

“Then make friends,” the Aryan said simply. Hiram gasped and panted, gathering his rage back under control. This is not happening. I am not angry. Put it away, put it back, get control, smile. Smile at the Aryan.

“You’re my friend, right?” Hiram asked.

“If you’ll let me,” the Aryan answered.

“I’ll let you,” Hiram said. Then he got up and left the office.

On the way home he passed a church. He had often seen the church before. He had little interest in religion—it had been too thoroughly dissected for him in the novels. What Twain had left alive, Dostoevski had withered and Pasternak had killed. But his mother was a passionate Presbyterian. He went into the church.

At the front of the building was a huge television screen. On it a very charismatic young man was speaking. The tones were subdued—only those in the front could hear it. Those in the back seemed to be mediating. Cloward knelt at a bench to meditate, too.

But he couldn’t take his eyes off the screen. The young man stepped aside, and an older man took his place, intoning something about Christ. Hiram could hear the word Christ, but no others.

The walls were decorated with crosses. Row on row of crosses. This was a Protestant church—none of the crosses contained a figure of Jesus bleeding. But Hiram’s imagination supplied him nonetheless. Jesus, his hands and wrists nailed to the cross, his feet pegged to the cross, his throat at the intersection of the beams.

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