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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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 want a drink, Mommy.” The voice was plaintive, with the sort of whine only possible to a child who is comfortable and sure of love. Mark turned at the landing in time to see MaryJo passing the top of the stairs on the way to the children’s bedroom, a glass of water in her hand. He thought nothing of it. The children always wanted extra attention at bedtime.

The children. The children, of course there were children. This was the urgency he had felt in the office, the reason he had to get home. They had always wanted children and so there were children. C. Mark Tapworth always got what he set his heart on.

“Asleep at last,” MaryJo said wearily when she came into the room.

Despite her weariness, however, she kissed him good night in the way that told him she wanted to make love. He had never worried much about sex. Let the readers of Reader’s Digest worry about how to make their sex lives fuller and richer, he always said. As for him, sex was good, but not the best thing in his life; just one of the ways that he and MaryJo responded to each other. Yet tonight he was disturbed, worried. Not because he could not perform, for he had never been troubled by even temporary impotence except when he had a fever and didn’t feel like sex anyway. What bothered him was that he didn’t exactly care.

He didn’t not care, either. He was just going through the motions as he had a thousand times before, and this time, suddenly, it all seemed so silly, so redolent of petting in the backseat of a car. He felt embarrassed that he should get so excited over a little stroking. So he was almost relieved when one of the children cried out. Usually he would say to ignore the cry, would insist on continuing the lovemaking. But this time he pulled away, put on a robe, went into the other room to quiet the child down.

There was no other room.

Not in this house. He had, in his mind, been heading for their hopeful room filled with crib, changing table, dresser, mobiles, cheerful wallpaper—but that room had been years ago, in the small house in Sandy, not here in the home in Federal Heights with its magnificent view of Salt Lake City, its beautiful shape and decoration that spoke of taste and shouted of wealth and whispered faintly of loneliness and grief. He leaned against a wall. There were no children. There were no children. He could still hear the child’s cry ringing in his mind.

MaryJo stood in the doorway to their bedroom, naked but holding her nightgown in front of her. “Mark,” she said. “I’m afraid.”

“So am I,” he answered.

But she asked him no questions, and he put on his pajamas and they went to bed and as he lay there in darkness listening to his wife’s faintly rasping breath he realized that it didn’t really matter as much as it ought. He was losing his mind, but he didn’t much care. He thought of praying about it, but he had given up praying years ago, though of course it wouldn’t do to let anyone else know about his loss of faith, not in a city where it’s good business to be an active Mormon. There’d be no help from God on this one, he knew. And not much help from MaryJo, either, for instead of being strong as she usually was in an emergency, this time she would be, as she said, afraid.

“Well, so am I,” Mark said to himself. He reached over and stroked his wife’s shadowy cheek, realized that there were some creases near the eye, understood that what made her afraid was not his specific ailment, odd as it was, but the fact that it was a hint of aging, of senility, of imminent separation. He remembered the box downstairs, like death appointed to watch for him until at last he consented to go. He briefly resented them for bringing death to his home, for so indecently imposing on them; and then he ceased to care at all. Not about the box, not about his strange lapses of memory, not about anything.

I am at peace, he realized as he drifted off to sleep. I am at peace, and it’s not all that pleasant.

“Mark,” said MaryJo, shaking him awake. “Mark, you overslept.”

Mark opened his eyes, mumbled something so the shaking would stop, then rolled over to go back to sleep.

“Mark,” MaryJo insisted.

“I’m tired,” he said in protest.

“I know you are,” she said. “So I didn’t wake you any sooner. But they just called. There’s something of an emergency or something—”

“They can’t flush the toilet without someone holding their hands.”

“I wish you wouldn’t be crude, Mark,” MaryJo said. “I sent the children off to school without letting them wake you by kissing you good-bye. They were very upset.”

“Good children.”

“Mark, they’re expecting you at the office.”

Mark closed his eyes and spoke in measured tones. “You can tell them and tell them I’ll come in when I damn well feel like it and if they can’t cope with the problem themselves I’ll fire them all as incompetents.”

MaryJo was silent for a moment. “Mark, I can’t say that.”

“Word for word. I’m tired. I need a rest. My mind is doing funny things to me.” And with that Mark remembered all the illusions of the day before, including the illusion of having children.

“There aren’t any children,” he said.

Her eyes grew wide. “What do you mean?”

He almost shouted at her, demanded to know what was going on, why she didn’t just tell him the truth for a moment. But the lethargy and disinterest clamped down and he said nothing, just rolled back over and looked at the curtains as they drifted in and out with the air conditioning. Soon MaryJo left him, and he heard the sound of machinery starting up downstairs. The washer, the dryer, the dishwasher, the garbage disposer: it seemed that all the machines were going at once. He had never heard the sounds before—MaryJo never ran them in the evenings or on weekends, when he was home.

At noon he finally got up, but he didn’t feel like showering and shaving, though any other day he would have felt dirty and uncomfortable until those rituals were done with. He just put on his robe and went downstairs. He planned to go in to breakfast, but instead he went into his study and opened the lid of the coffin.

It took him a bit of preparation, of course. There was some pacing back and forth before the coffin, and much stroking of the wood, but finally he put his thumbs under the lid and lifted.

The corpse looked stiff and awkward. A man, not particularly old, not particularly young. Hair of a determinedly average color. Except for the grayness of the skin color the body looked completely natural and so utterly average that Mark felt sure he might have seen the man a million times without remembering he had seen him at all. Yet he was unmistakably dead, not because of the cheap satin lining the coffin rather slackly, but because of the hunch of the shoulders, the jut of the chin. The man was not comfortable.

He smelled of embalming fluid.

Mark was holding the lid open with one hand, leaning on the coffin with the other. He was trembling. Yet he felt no excitement, no fear. The trembling was coming from his body, not from anything he could find within his thoughts. The trembling was because it was cold.

There was a soft sound or absence of sound at the door. He turned around abruptly. The lid dropped closed behind him. MaryJo was standing in the door, wearing a frilly housedress, her eyes wide with horror.

In that moment years fell away and to Mark she was twenty, a shy and somewhat awkward girl who was forever being surprised by the way the world actually worked. He waited for her to say, “But Mark, you cheated him.” She had said it only once, but ever since then he had heard the words in his mind whenever he was closing a deal. It was the closest thing to a conscience he had in his business dealings. It was enough to get him a reputation as a very honest man.

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