"We seldom get into trouble when we speak softly. It is only when we raise our voices that the sparks fly and tiny molehills become great mountains of contention."
It was more than ten years ago that my father's high priests group began an oral history project.
I'd been after my parents for years to write or speak their memoirs. They always agreed to do it,
and they meant it. But we all know the barriers that get in the way.
The biggest barrier is that you think you have to write an autobiography -- start at the beginning
and write the definitive account of your life. But you run into a couple of dates or an address
you can't be sure of, and you think, "I've got to look that up," and the whole project dies right
then.
If you record it orally, you stop to think but the recording continues, so you've just preserved a
minute and a half of nothing. With nobody listening except a machine, it can feel pointless and
foolish.
My dad's high priests group had a good solution to help the quorum members get started.
They'd gather on Sunday evening and make a fireside of it -- one quorum member's oral history
at a time.
So there stood my dad in front of a microphone, with slides and prints of old photographs. But
now he was talking to real people, who were listening, who responded. It became, not a
"project," but a conversation.
My dad, half joking, began with his surgical history. Starting with his tonsillectomy as a child,
he moved on through the many spinal surgeries, the gall bladder removal, the three lens
replacements (he joked about three lenses for two eyes). Two heart attacks with bypasses and
angioplasties.
Then he moved on to a short summary of his ancestry, places he had lived as a child, schools he
had attended, friends from childhood, teachers that had an impact on him. He could have done
an hour at least on every one of these subjects -- but he raced on ahead.
He told of being one of the first flying-model-airplane builders in Utah. He tried to take pictures
of his planes, but found that his family's little box camera couldn't do an adequate job. So he
began his lifelong study of photography.
He told of his mission. His marriage to my mother within a week of coming home, and then
volunteering for the Navy in World War II ("because I liked to sleep in a clean bed every
night"). His damaged spinal disk, undetected by the radiologist who cleared him for military
service, dooming him to a life of agonizing pain.
When he got home after the war, his daughter's first solo steps were taken as she toddled to meet
him in the train station.
Very little of his life was really under his control. All the moving around in his early years was
decided by his parents. The Church sent him on his mission; the war put him in the Navy; the
Navy put him on ships and planes, sent him to Guam. After the war, he started college but
interrupted his education to support his family.
In jobs at the Hanford Works near Richland, Washington, he developed his artistic talent into the
skill of sign painting. He started a sign-painting company in San Mateo, California, because his
father-in-law had some warehouse space he could use. More back problems forced him to close
the business and return to school.
Through all of this, I saw, not an ambitious young man with a grand design for his life, but rather
a good young Latter-day Saint who took on whatever challenges came along and applied
whatever skills he had to every opportunity he saw.
And I thought: His wasn't a well-planned life. Planning wasn't even possible. But he had his
priorities straight -- God, family, work, Church. And where my life has gone well, it's because
I followed his example. Take what comes; seize the day; care for and love those who need you;
improve your talents all the time.
That oral history night was in 1997, thirteen years ago. We got our CD of my dad's presentation
only last week, and listened to it for family home evening.
Already I could list more operations he didn't know he had coming: the knee replacements, the
appendectomy.
When he enumerated his grandchildren, and mentioned that the oldest and youngest of them had
died, we knew that as he spoke, there was yet another death of a grandchild ahead of him.
His history didn't end in 1997 when he took part in his quorum's oral history project. It goes on,
and will continue to go on. He'll be there for some of it -- but his history won't end with his
eventual passing from this world.
All that he helped to set in motion here will continue without him; and he, leaving us behind,
will rejoin family members who have gone before, making new history with them.
If I can keep my feet as true to the path of righteousness as he has, I will have done well, as he
has done well.
But that hour-long presentation in 1997 isn't even a tenth of the stories I wish I had from him.
Plug a mike into your laptop, Dad. You've only just begun.
Orson Scott Card is the author of the novels Ender's Game, Ender's
Shadow, and Speaker for the Dead, which are widely read by adults and
younger readers, and are increasingly used in schools.
Besides these and other science fiction novels, Card writes contemporary
fantasy (Magic Street,Enchantment,Lost Boys), biblical novels (Stone Tables,Rachel and Leah), the American frontier fantasy series The Tales of Alvin Maker
(beginning with Seventh Son), poetry (An Open Book), and many plays and
scripts.
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, he teaches occasional classes and workshops and directs
plays. He also teaches writing and literature at Southern Virginia University.
Card currently lives in Greensboro, North Carolina, with his wife,
Kristine Allen Card, and their youngest child, Zina Margaret.