Keeper of Dreamsby Orson Scott Card
This huge new collection of the short stories of one of Science Fiction's most beloved and popular writers is sure to please his millions of fans. The volume contains 24 stories, Card's new introductions for each story, and commentary on his life and work.
Like the earlier Maps in A Mirror, this collection is a definitive retrospective of the short/i>/p>
This huge new collection of the short stories of one of Science Fiction's most beloved and popular writers is sure to please his millions of fans. The volume contains 24 stories, Card's new introductions for each story, and commentary on his life and work.
Like the earlier Maps in A Mirror, this collection is a definitive retrospective of the short fiction career of the writer that The Houston Post called "the best writer science fiction has to offer."
Multiple Hugo- and Nebula-winner Card offers short, revealing commentaries on these 22 compelling short stories, novelettes, and novellas, noting that short work has inspired some of his best and best-known long fiction. These short science fiction, fantasy and "literary" stories, along with a handful of Hatrack River tales (related to the Alvin Maker series) and four stories "written by a Mormon, about Mormon culture, for Mormon readers," illustrate Card's fascination with complex child protagonists, touchingly portrayed in "Inventing Lovers on the Phone"; absorption with moral dilemmas, wrapped up in family love and tensions in "Worthy to Be One of Us"; and new views of old traditions, familiar and discomfiting in "Homeless in Hell" and "Christmas at Helaman's House." Card intended several of the included stories, like the powerful "In the Dragon's House," to open novels not yet written, but even on their own they provide significant examples of his perennial themes: morality, salvation and redemption. (Apr.)Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Adult/High School- The prolific Card published one short story collection, Maps in a Mirror: The Short Fiction of Orson Scott Card (Tor, 1990), which supposedly included all of the short fiction he was willing to share. But apparently there are now a lot more selections, as demonstrated by this hefty volume. This compilation, composed of science fiction, fantasy, literary tales, and Mormon stories contains no clunkers. There is some truly innovative and wonderful storytelling here. Card's ability to create believable characters that readers come to care about remains his strongest selling point. Sometimes those characters happen into other worlds, as in "Space Boy" and "Dust." Other times they stay firmly grounded in this one, yet their stories give a new and different perspective on life. Teens who enjoy Card's earlier work, who like short stories, or who are just looking for a new world to lose themselves in can't go wrong here. Standout stories include "Space Boy," "Homeless in Hell," "Inventing Lovers on the Phone," and "50 WPM." Short essays give the origins of the individual selections.-Charli Osborne, Oxford Public Library, MI
“This hefty, definitive collection contains all of Card's short fiction… A series of introductions and afterwords offering Card's thoughts on his life and his writing are as absorbing as the stories.” Publishers Weekly on Maps In A Mirror
“The award-winning author of Ender's Game, Speaker for the Dead, and the "Alvin Maker" series demonstrates his talent for shorter fiction in this collection of 46 stories that range from fantasy and sf to horror and theological speculation...Detailed introductions and afterwords reveal insights into the thought processes of one of the genre's most convincing storytellers. An important volume.” Library Journal on Maps In A Mirror
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Keeper of Dreams
By Orson Scott Card
Tom Doherty AssociatesCopyright © 2008 Orson Scott Card
All rights reserved.
THE ELEPHANTS OF POZNAN
In the heart of old Poznan, the capital of Great Poland since ancient times, there is a public square called Rynek Glowny. The houses around it aren't as lovely as those of Krakow, but they have been charmingly painted and there is a faded graciousness that wins the heart. The plaza came through World War II more or less intact, but the Communist government apparently could not bear the thought of so much wasted space. What use did it have? Public squares were for public demonstrations, and once the Communists had seized control on behalf of the people, public demonstrations would never be needed again. So out in the middle of the square they built a squat, ugly building in a brutally modern style. It sucked the life out of the place. You had to stand with your back to it in order to truly enjoy the square.
But we'd all seen the ugly building for so many years that we hardly noticed it anymore, except to apologize to visitors, ruefully remember the bad old days of Communism, and appreciate the irony that the occupants of such a tasteless building should include a restaurant, a bookshop, and an art gallery. And when the plague came and the city was so cruelly and suddenly emptied, those of us who could not let go of Poznan, who could not bear to eke out the last of our lives in the countryside, drifted to the old heart of the city and took up residence in the houses surrounding the square. As time passed, even the ugly building became part of the beauty of the place, for it had been part of the old crowded city now lost forever. Just as the toilets with little altars for the perusal of one's excrement reminded us of the many decades of German overlordship, so this building was also a part of our past, and now, by its sheer persistence among us, a part of ourselves. If we could venerate the bones and other bodily parts of dead saints, couldn't we also find holiness of a kind even in this vile thing? It was a relic of a time when we thought we were suffering, but to which we now would gladly return, just to hear schoolchildren again in the streets, just to see the flower shop once more selling the bright excesses of overcopious nature, spots of vivid color to show us that Poland was not, by nature, grey.
Into this square came the elephants, a group of males, making their way in what seemed a relentless silence, except that a trembling of the windows told us that they were speaking to each other in infrasound, low notes that the human ear could not hear, but the human hand could feel on glass. Of course we had all seen elephants for years on our forays out into the gardens of suburban Poznan — clans of females and their children following a matriarch, gangs of mature males hanging out to kill time until one of them went into musth and set off in search of the nearest estrous female. We speculated at first about where they came from, whether their forebears had escaped from a zoo or a circus during the plague. But soon we realized that their numbers were far too great to be accounted for that way. Too many different clans had been seen. On Radio Day we learned, from those few stations that still bothered, that the elephants had come down the Nile, swum the Suez, swarmed through Palestine and Syria and Armenia, crossed the Caucasus, and now fed in the lush wheat pastures of Ukraine, bathed in the streams of Belarus, and stood trumpeting on the shores of Estonia and Pomerania, calling out to some god of the sea, demanding passage to lands as yet unpossessed by the great stumpy feet, the probing noses, the piercing ivory, and the deep thrumming music of the new rulers of the world.
Why should they not rule it? We were only relics ourselves, we who had had the misfortune of surviving the plague. Out of every hundred thousand, only fifty or a hundred had survived. And as we scavenged in the ruins, as we bulldozed earth over the corpses we dragged from the areas where we meant to live, as we struggled to learn how to keep a generator or two running, a truck here and there, the radios we used only once a week, then once a month, then once a year, we gradually came to realize that there would be no more children. No one conceived. No one bore. The disease had sterilized us, almost all. There would be no recovery from this plague. Our extinction had not required a celestial missile to shatter the earth and darken the sky for a year; no other species shared our doom with us. We had been taken out surgically, precisely, thoroughly, a tumor removed with a delicate viral hand.
So we did not begrudge the elephants their possession of the fields and the forests. The males could knock down trees to show their strength; there was no owner to demand that animal control officers come and dispose of the rampaging beasts. The females could gather their children into barns and stables against the winter blast, and no owner would evict them; only the crumbling bones and strands of hairy flesh showed where horses and cattle had starved to death when their masters died too quickly to think of setting them free from their stalls and pens.
Why, though, had these males come into the city? There was nothing for them to eat. There was nothing for us to eat; when our bicycles gave out and we could cobble together no more makeshift carts, we would have to leave the city ourselves and live closer to the food that we gathered from untended fields. Why would the elephants bother with such a ruin? Curiosity, perhaps. Soon they would see that there was nothing here for them, and move on.
We found ourselves growing impatient as the hours passed, and the days, and still we kept encountering them on the city streets. Didn't they understand that we lived in the heart of Poznan specifically because we wanted a human place? Didn't they feel our resentment of their trespass? All the rest of Earth is yours; can you not leave undesecrated these crypts we built for ourselves in the days of our glory?
Gradually it dawned on us — dawned on me, actually, but the others realized I was right — that the elephants had come not to explore Poznan, but to observe us. I would pedal my bicycle and glance down a cross street to see an elephant lumbering along on a parallel path; I would turn, and see him behind me, and feel that shuddering in my breastbone, in my forehead, that told me they were speaking to each other, and soon another elephant would be shadowing me, seeing where I went, watching what I did, following me home.
Why were they interested in us? Humans were no longer killing them for their ivory. The world was theirs. We were going to die — I, who was only seven years old when the plague came, am now past thirty, and many of the older survivors are already, if not at death's door, then studying the travel brochures and making reservations, their Bibles open and their rosaries in hand. Were these males here as scientists, to watch the last of the humans, to study our deathways, to record the moment of our extinction so that the elephants would remember how we died with only a whimper, or less than that, a whisper, a sigh, a sidelong glance at God?
I had to know. For myself, for my own satisfaction. If I found the truth, whom else would I tell it to, and for what purpose? they would only die as I would die, taking memory with them into the fire, into the ash, into the dust. I couldn't get any of the others to care about the questions that preyed upon me. What do the elephants want from us? Why do they follow us?
Leave it alone, Lukasz, they said to me. Isn't it enough that they don't bother us?
And I answered with the most perplexing question of all, to me at least. Why elephants? The other wild animals that roamed the open country were the ones one might expect to see: the packs of dogs gone wild, interbreeding back to mongrel wolfhood; the herds of cattle, breeding back to hardiness; and of horses, quick and free and uninterested in being tamed. The companions of man, the servants and slaves of man, now masterless, now free. Unshorn sheep. Unmilked goats. Sudden-leaping housecats. Scrawny wild chickens hiding from ever-vigilant hawks. Ill-tempered pigs rooting in the woods, the boars making short work of dogs that grew too bold. That was the wildlife of Europe. No other animals from Africa had made the journey north. Only the elephants, and not just from Africa — the elephants of India were roaming the orient, and on the most recent Radio Day we learned, through messages relayed many times, that they had somehow crossed the Bering Strait and were now, in ever greater numbers, grazing the prairies of America, small-eared cousins to the great-canopied beasts that now shadowed us on the streets of Poznan. I pictured them swimming, or piling onto boats that some last human pilot guided for them onto the stygian shore.
They had inherited the Earth, and were bent on surveying their new domain.
So I took to spending my days in the library, reading all I could about elephants, and then about all the processes of life, all the passages of history, trying to understand not only them but ourselves, and what had happened to us, and what our cities might mean to them, our houses, our streets, our rusting cars, our collapsing bridges, our sorry cemetery mounds where winter brought fresh crops of human bone to the surface, white stubble on a fallow field. I write this now because I think I know the answers, or at least have found guesses that ring true to me, though I also know they might be nothing more than a man hungry for meanings inventing them where they don't exist. Arguably, all meanings are invented anyway; and since I have no one to please but myself, and no one to read this who will care, except perhaps one, then I may write as I please, and think as I please, and reread this whenever I can bear it.
They made no effort to follow me inside the library. What good would it do them? Clever as they were with their inquisitive trunks, I could imagine them being deft enough to turn pages without tearing them. But what would the markings on the pages mean to them? Elephants sang their literature to each other in octaves we humans could not hear. Their science was the science of the temporal gland, the probing nose. They observed, but — or so I thought — did not experiment.
I did learn enough to warn the others before the first of the males went into musth. When you see one of them acting agitated, when his temporal glands pour out a steady black streak down his cheeks, when the other males are shy of him and give him room, then we must do the same, staying out of his way, not meeting his gaze. Let him pass. The city is his, wherever he wants to go. He won't stay here long, in musth. He must go and find a female then, and they were all outside in the open fields. He would give his deep rumbling call and pour out his lusty scent into the air and dribble musky fluid onto the ground where every other elephant could smell it and know: This way passed a male bent on making babies. This way passed God, looking for the Holy Virgin.
So we studied each other, and avoided offending each other, and grew used to each other's ways, the elephants and the fifty remaining residents of Poznan.
And then one day they began to push.
The males all gathered in the public square. We, too, gossiping to each other that something important was going to happen, gathered in our houses and leaned at our windows to watch.
They wandered aimlessly through the square, eleven of them — the twelve apostles, I thought, sans Iscariot — until noon made the smallest shadows. Then, as if of one mind, they surrounded the ugly old Communist building, facing it. When all were in place, they moved forward, slowly, each bull resting his massive brow against the miserable façade. Then, slowly, each began to tense his muscles, to shift his weight, to make little adjustments, to plant his feet, and then to push with greater and greater strength against the wall.
They're trying to push it down, I realized. And so did the others, all of us calling out to each other in our high-pitched human voices.
They're critics of architecture!
They've come to beautify Poznan!
We began to address the elephants with our calls, as if they were our football team, as if the plaza were a playing field. We cheered them, laughed in approval, shouted encouragement, placed meaningless bets about whether they could actually break through the walls.
Then, abruptly, I was no longer part of the playfulness. For without meaning to, I changed perspective suddenly, and saw us as the elephants must have seen us. This was Africa after all, and we were the primates perched in the trees, hooting and screeching at the giants, unaware of our own insignificance, or at least unbothered by it.
When I pulled my head back inside my window, I was filled with grief, though at that moment I could not have told you why. I thought at first it was because we humans were so diminished, reduced to chattering from safe perches. But then I realized that the human race had always been the same, had never risen, really, from our primate ways. No, what I was grieving for was that ugly old building, that relic of noble dreams gone sour. I had never lived under Communism, had only heard the stories of the Russian overlords and the Polish Communists who claimed to be fulfilling the will of the masses and perhaps, sometimes, believed their own propaganda — so my father told me, and I had no reason to doubt him. When the Communists decided what was good and what was bad, they acted as rigidly as any Puritan. Aesthetic concerns in architecture led to wasteful overspending of the labor of the working class; therefore, the ugliness of all new buildings was a badge of virtue. We human beings had reinvented ourselves, Homo sovieticus, Homo coprofabricus, or whatever the scientific name would be. A new species that never guessed how quickly it would be extinct.
The elephants would keep pushing until the walls came down — I knew that. Intransigence was built into the elephants' shoulders the way screeching and chattering were built into the primate mouth. And even though the other humans were cheering them, egging them on, I was sad. No, wistful. If we had really wanted that ugly building taken down, we knew where the dynamite was kept, we could have blown it out of existence. Elephants are mighty and strong, as beasts go, but when it comes to destruction, their foreheads are no match for the explosives in the locked sheds at the construction sites of buildings that will never be finished.
We don't need you to take it down, you meddlers, I wanted to say. We built it, we humans. It's ours. What right have you to decide which artifacts should stand, and which should fall?
The fascination of it was irresistible, though. I couldn't stay away from the window for long. I had to check, again, again, to see if they were making any progress, to see if some crack had appeared. The beasts had enormous patience, pushing and pushing until their shadows were swallowed up in the shade of the buildings as the sun headed out past Germany, past France, out to the Atlantic to be plunged steaming into the sea of night. That was the clock they lived by, these elephants; they had put in their day's work, and now they wandered off, heading out of the city as they did most nights, to eat and drink and sleep in some more hospitable place.
The next morning they were back, earlier this time, and formed their circle much more quickly, and pushed again. The betting among us began in earnest, then. Would they succeed? Would they give up? How long till the first crack? How long till a wall fell? We had nothing of value to bet; or rather, we had everything, we had inherited the city from the dead, so that we could bet enormous sums of money and pay in cash or diamonds if we wanted to, but when we wagered we never bothered to carry such useless objects from one house to another. Enough to say who won and who lost. The only reason we had such wealth was because the dead had left it all behind. If they didn't value it any more than that, what was it worth to us, except as counters in games of chance?
There was unguessed-at meaning in their pushing after all. For on the third day of the elephants' pushing — still to no visible effect — Arek came home to Poznan. Arek, whom I had named for my father. Arek, who dashed my last hope. Arek, who killed my wife.
For years after the plague, no children were conceived. From Berlin, where one of the survivors was a doctor, we learned that when the plague was new and they were still trying to study it, the medical researchers determined that the virus rooted in the reproductive systems of men and women, specifically attacking their bodies where the human seed was made. This was not how the plague did its slaughtering, but it guaranteed that the few survivors would be sterile. The message left us in despair.
Excerpted from Keeper of Dreams by Orson Scott Card. Copyright © 2008 Orson Scott Card. Excerpted by permission of Tom Doherty Associates.
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Meet the Author
Orson Scott Card is the author of the novels Ender's Game, Ender's Shadow, and Speaker for the Dead. Ender's Game and Speaker for the Dead both won Hugo and Nebula Awards, making Card the only author to win these two top prizes in consecutive years. There are seven other novels to date in The Ender Universe series. Card has also written fantasy: The Tales of Alvin Maker is a series of fantasy novels set in frontier America; his most recent novel, The Lost Gate, is a contemporary magical fantasy. Card has written many other stand-alone sf and fantasy novels, as well as movie tie-ins and games, and publishes an internet-based science fiction and fantasy magazine, Orson Scott Card's Intergalactic Medicine Show. Card was born in Washington and grew up in California, Arizona, and Utah. He served a mission for the LDS Church in Brazil in the early 1970s. Besides his writing, Card directs plays and teaches writing and literature at Southern Virginia University. He lives in Greensboro, North Carolina, with his wife, Kristine Allen Card, and youngest daughter, Zina Margaret.
Orson Scott Card is best known for his science fiction novel Ender's Game and its many sequels that expand the Ender Universe into the far future and the near past. Those books are organized into the Ender Quintet, the five books that chronicle the life of Ender Wiggin; the Shadow Series, that follows on the novel Ender's Shadow and are set on Earth; and the Formic Wars series, written with co-author Aaron Johnston, that tells of the terrible first contact between humans and the alien "Buggers." Card has been a working writer since the 1970s. Beginning with dozens of plays and musical comedies produced in the 1960s and 70s, Card's first published fiction appeared in 1977 -- the short story "Gert Fram" in the July issue of The Ensign, and the novelette version of "Ender's Game" in the August issue of Analog. The novel-length version of Ender's Game, published in 1984 and continuously in print since then, became the basis of the 2013 film, starring Asa Butterfield, Harrison Ford, Ben Kingsley, Hailee Steinfeld, Viola Davis, and Abigail Breslin. Card was born in Washington state, and grew up in California, Arizona, and Utah. He served a mission for the LDS Church in Brazil in the early 1970s. Besides his writing, he runs occasional writers' workshops and directs plays. He frequently teaches writing and literature courses at Southern Virginia University.
He is the author many sf and fantasy novels, including the American frontier fantasy series "The Tales of Alvin Maker" (beginning with Seventh Son), There are also stand-alone science fiction and fantasy novels like Pastwatch and Hart's Hope. He has collaborated with his daughter Emily Card on a manga series, Laddertop. He has also written contemporary thrillers like Empire and historical novels like the monumental Saints and the religious novels Sarah and Rachel and Leah. Card's recent work includes the Mithermages books (Lost Gate, Gate Thief), contemporary magical fantasy for readers both young and old. Card lives in Greensboro, North Carolina, with his wife, Kristine Allen Card, He and Kristine are the parents of five children and several grandchildren.
- Greensboro, North Carolina
- Date of Birth:
- August 24, 1951
- Place of Birth:
- Richland, Washington
- B.A. in theater, Brigham Young University, 1975; M.A. in English, University of Utah, 1981
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The collection is broken into categories with six Science Fiction entries eight Fantasies two Literary two Hatrack River (short novels related to Alvin Maker) and four Morman Stories. Each entry has notes afterward in which Orson Scott Card provides additional information. The compilation showcases the depth of the author as Mr. Card runs the gamut of the sci fi-fantasy continuum. Many have children especially teens and the lead characters are caught up in complex moral scenarios or questions on ethical choices. The ¿nonreligious¿ Morman tales are obviously timely and although Mr. Card explains that he targets Mormon readers as a Mormon writer other fans might think these are ¿weird¿, but many of these others in the audience will still appreciate tales of characters facing personal crisis inside a ¿ward¿. Well written throughout, readers will relish the deep yet wide skills of Mr. Card to coax his audience to think beyond his enjoyable KEEPER OF DREAMS. --- Harriet Klausner