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a thoughtful essay on the writing of fiction, and three major works which have, since their original publication, been superseded by novel-, or more than novel-length works.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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“What he is doing is turning you down with finality. An answer from which there is no appeal. He gave you credit for having the wit to understand that.”

“How convenient for you if I believe that.”

Now, at last, she realized he was angry. “What’s that supposed to mean?”

“You can stay here on Trantor and continue your work with all your bureaucratic friends.”

Her face went cold and hard. “I told you. I am quite happy to go to Terminus with you.”

“Am I supposed to believe that, even now? Your research in community formation within the Imperial bureaucracy cannot possibly continue on Terminus.”

“I’ve already done the most important research. What I’m doing with the Imperial Library staff is a test.”

“Not even a scientific one, since there’s no control group.”

She looked annoyed. “I’m the one who told you that.”

It was true. Leyel had never even heard of control groups until she taught him the whole concept of experimentation. She had found it in some very old child-development studies from the 3100s G.E. “Yes, I was just agreeing with you,” he said lamely.

“The point is, I can write my book as well on Terminus as anywhere else. And yes, Leyel, you are supposed to believe that I’m happy to go with you, because I said it, and therefore it’s so.”

“I believe that you believe it. I also believe that in your heart you are very glad that I was turned down, and you don’t want me to pursue this matter any further so there’ll be no chance of your having to go to the godforsaken end of the universe.”

Those had been her words, months ago, when he first proposed applying to join the Seldon Foundation. “We’d have to go to the godforsaken end of the universe!” She remembered now as well as he did. “You’ll hold that against me forever, won’t you! I think I deserve to be forgiven my first reaction. I did consent to go, didn’t I?”

“Consent, yes. But you never wanted to.”

“Well, Leyel, that’s true enough. I never wanted to. Is that your idea of what our marriage means? That I’m to subsume myself in you so deeply that even your desires become my own? I thought it was enough that from time to time we consent to sacrifice for each other. I never expected you to want to leave the Forska estates and come to Trantor when I needed to do my research here. I only asked you to do it—whether you wanted to or not—because I wanted it. I recognized and respected your sacrifice. I am very angry to discover that my sacrifice is despised.”

“Your sacrifice remains unmade. We are still on Trantor.”

“Then by all means, go to Hari Seldon, plead with him, humiliate yourself, and then realize that what I told you is true. He doesn’t want you to join his Foundation and he will not allow you to go to Terminus.”

“Are you so certain of that?”

“No, I’m not certain. It merely seems likely.”

“I will go to Terminus, if he’ll have me. I hope I don’t have to go alone.”

He regretted the words as soon as he said them. She froze as if she had been slapped, a look of horror on her face. Then she turned and ran from the room. A few moments later, he heard the chime announcing that the door of their apartment had opened. She was gone.

No doubt to talk things over with one of her friends. Women have no sense of discretion. They cannot keep domestic squabbles to themselves. She will tell them all the awful things I said, and they’ll cluck and tell her it’s what she must expect from a husband, husbands demand that their wives make all the sacrifices, you poor thing, poor poor Deet. Well, Leyel didn’t begrudge her this barnyard of sympathetic hens. It was part of human nature, he knew, for women to form a perpetual conspiracy against the men in their lives. That was why women have always been so certain that men also formed a conspiracy against them.

How ironic, he thought. Men have no such solace. Men do not bind themselves so easily into communities. A man is always aware of the possibility of betrayal, of conflicting loyalties. Therefore when a man does commit himself truly, it is a rare and sacred bond, not to be cheapened by discussing it with others. Even a marriage, even a good marriage like theirs— his commitment might be absolute, but he could never trust hers so completely.

Leyel had buried himself within the marriage, helping and serving and loving Deet with all his heart. She was wrong, completely wrong about his coming to Trantor. He hadn’t come as a sacrifice, against his will, solely because she wanted to come. On the contrary: because she wanted so much to come, he also wanted to come, changing even his desires to coincide with hers. She commanded his very heart, because it was impossible for him not to desire anything that would bring her happiness.

But she, no, she could not do that for him. If she went to Terminus, it would be as a noble sacrifice. She would never let him forget that she hadn’t wanted to. To him, their marriage was his very soul. To Deet, their marriage was just a friendship with sex. Her soul belonged as much to these other women as to him. By dividing her loyalties, she fragmented them; none were strong enough to sway her deepest desires. Thus he discovered what he supposed all faithful men eventually discover—that no human relationship is ever anything but tentative. There is no such thing as an unbreakable bond between people. Like the particles in the nucleus of the atom. They are bound by the strongest forces in the universe, and yet they can be shattered, they can break.

Nothing can last. Nothing is, finally, what it once seemed to be. Deet and he had had a perfect marriage until there came a stress that exposed its imperfection. Anyone who thinks he has a perfect marriage, a perfect friendship, a perfect trust of any kind, he only believes this because the stress that will break it has not yet come. He might die with the illusion of happiness, but all he has proven is that sometimes death comes before betrayal. If you live long enough, betrayal will inevitably come.

Such were the dark thoughts that filled Leyel’s mind as he made his way through the maze of the city of Trantor. Leyel did not seal himself inside a private car when he went about in the planet-wide city. He refused the trappings of wealth; he insisted on experiencing the life of Trantor as an ordinary man. Thus his bodyguards were under strict instructions to remain discreet, interfering with no pedestrians except those carrying weapons, as revealed by a subtle and instantaneous scan.

It was much more expensive to travel through the city this way, of course—every time he stepped out the door of his simple apartment, nearly a hundred high-paid bribeproof employees went into action. A weaponproof car would have been much cheaper. But Leyel was determined not to be imprisoned by his wealth.

So he walked through the corridors of the city, riding cabs and tubes, standing in lines like anyone else. He felt the great city throbbing with life around him. Yet such was his dark and melancholy mood today that the very life of the city filled him with a sense of betrayal and loss. Even you, great Trantor, the Imperial City, even you will be betrayed by the people who made you. Your empire will desert you, and you will become a pathetic remnant of yourself, plated with the metal of a thousand worlds and asteroids as a reminder that once the whole galaxy promised to serve you forever, and now you are abandoned. Hari Seldon had seen it. Hari Seldon understood the changeability of humankind. He knew that the great empire would fall, and so—unlike the government, which depended on things remaining the same forever—Hari Seldon could actually take steps to ameliorate the Empire’s fall, to prepare on Terminus a womb for the rebirth of human greatness. Hari was creating the future. It was unthinkable that he could mean to cut Leyel Forska out of it.

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