Asimov Book Review - I, Robot

by Lacey Kat
Copyright (c) by Author 2010

With the close of the second World War, and the dawn of the atomic age, Science Fiction, long the bastard child of the publishing industry, started to gain new respect. Major publishing houses, that only a few years before only printed scattered anthologies and never novels, were scrambling to line their shelves with tombs dealing with the “new “ world of science.

Isaac Asimov, who by this time had already made a name in the industry, and who already had a sizable amount of work in print, thought that a collection of his stories would do well in hardback. Unfortunately, the larger, established, publishers wanted new works and not already published “magazine” stories. Not all were this short-sighted, and Martin Greenberg, (note: Not the Martin H. Greenberg Asimov teamed with later in his career) of Gnome Press, was a Sci- Fi fan who saw the value of Asimov’s work. Along with the “Foundation” series, he printed nine of Asimov’s robot stories under the title of “I, Robot.”

The stories that make up “I, Robot,” were, with one exception, originally published in Astounding Science Fiction Magazine between 1941 and 1950. The only exception was “Robbie,” which was Asimov’s first robot story, and published under the title “Strange Playfellow” in Super Science Stories in 1940.

Rather than just present the stories between two covers Asimov decided to weave them together under a theme. That theme was his favorite character, the noted “Robopsychologist,” Susan Calvin. The idea was that Dr. Calvin was finally retiring from U.S. Robots and Mechanical Men. A reporter is sent to interview her and wants to get the “human-interest” angle out of the woman most people thought of as “a robot in human skin.” She proceeds to tell the young reporter a series of stories covering her remarkable career. These stories make up the book “I, Robot.”

The stories were altered by Asimov to fit the theme he created for the book, and to remove any inconsistencies between the previously published stories. Dates were established along Dr. Calvin’s lifetime and “historic” events were either spoken of directly (as the case of the third World War in 1982) or alluded too (as the establishment of unnamed colonies on other worlds and the development of hyperdrive technology).

In some cases, Dr. Calvin was written into the story where she was not before. For example, in “Robbie” there is a scene where a young Susan Calvin is in the room when Gloria, the child protagonist of the story, comes in to ask the “talking robot” on display for the location of her robot friend. The scene was added to imply that this exchange was what pushed a young Susan toward an education in robotics. In reality, the character of Susan Calvin did not exist in Asimov’s mind when he wrote the original story.

Some of the tales were altered to reflect the developing talent of the author. In “Liar!,” the first story to feature Susan Calvin, Asimov dealt with a relationship between the sexes. However, at the time, the bright and talented author had no experience in this subject. By the time “I, Robot” was put together, Asimov was far more educated on the subject of women and the story was extensively rewritten for the book.

The original title for the collection was to be “Mind and Iron.” Martin Greenberg, however, rejected that title and suggested the book be called “I, Robot.” Asimov cringed at this idea because in 1938 Eando Binder wrote a short story called “I, Robot,” and felt that he was stealing from another author. Mr. Greenberg “colorfully” dismissed this ill-placed loyalty and the title was changed. Some years later there was a television play of Binder’s robot story and several fans wrote Asimov about some joker who stole his title. Asimov, being a man of honor, wrote back to each of them explaining the situation. Postage was a lot cheaper back then.

The book opens with the framing story of the interplanetary reporter interviewing Susan Calvin on her retirement from U.S. Robots and Mechanical Men. She gives a quick history of the “anti-robot” feeling on earth and how they have impacted the development of robot technology and history. This leads to the first of Asimov’s robot stories, Robbie.

Robbie was the first robot story that Asimov wrote. However, it was hard to sell. It was a sentimental story about a nonverbal robot who was the “nursemaid” to a young girl named Gloria. The father sees no problem because the robot is built with safeguards. He refers to the “First Law of Robotics,” which makes it impossible for a robot to harm a human being. His wife is not so comfortable with that “terrible machine,” and laments that even the neighbors will not let their children go near the house at night. In this story, Asimov introduces his readers to the concept of the “Frankenstein Complex,” the ridiculousness of it, and he hints that there are safeguards that can be built into a machine to make it safe. He also introduces the word “Robotics” into the English language. Not many authors can claim to have invented a word. Asimov can.

The next story in the collection is called “Runaround,” and though it is the second story in the book it was the fourth robot story Asimov wrote. It dealt with the exploits of two recurrent characters, Michael Donovan and Gregory Powell, who are field testers for new robots. Published in March of 1941, it was the first story to list the Three Laws of Robotics explicitly. It was also the first story to use the interplay of the laws as the catalyst for the plot.

In “Runaround,” Powell and Donovan are stationed on Mercury and need one of their robots to go on the Sun side (we did not know Mercury rotated back then) and gather selenium needed for the station’s power supply. The robot suffers a mechanical problem and is walking in circles as a conflict arises between the second law requiring him to obey orders and the third law which ensure self-preservation. Powell and Donovan must decide how to save the robot and themselves.

The third story is called “Reason,” and it is actually the second story that Asimov wrote. Knowing Campbell’s penchant for introducing religious motifs into stories, Asimov originally introduced Powell and Donovan who must deal with a robot who refused to believe that he had been created by man, but must have been created by some godlike entity. John Campbell liked it and published it in the April 1941 issue of “Astounding Science Fiction.” This was a big boost to Asimov who’s first story, Robbie (published under the title of “Strange Playfellow”) was not accepted by Campbell and appeared in a smaller magazine. “Reason” got a wider reading and the Sci-Fi community became aware of the idea of “positronic robots.” This marked a fundamental change in the way Sci-Fi authors looked at the idea of mechanical men.


The fourth story is the third Powell/Donovan adventure and it is called “Catch That Rabbit.” It deals with a new robot that controls six subsidiary robots to mine an asteroid. The problem is that without supervision the main robot orders his “appendages” to twiddle their time away. Powell and Donovan must figure out why this happens and how to correct it using the three laws.

“Liar!” was the third robot story Asimov wrote and the first to include his favorite character, Dr. Susan Calvin. Being unmarried at this time, and not too experienced with women, Calvin was written as the typical spinster female scientist. In the story involves a robot who, through a mechanical error, is able to read minds. The story also introduces the three laws that would be called Asimov’s “Three Laws of Robotics.” While not explicitly spelled out as they were in “Runaround,” they are presented with enough detail to drive the story. The robot must deal with the fact that it cannot hurt a human (or a human’s feelings) but knows, through telepathy, secrets that, if revealed, would hurt.

[Side note: This story introduced the idea that a robot could be telepathic, and that became an important plot device in Asimov’s future Robot Novels.]

The sixth story in the collection is called “Little Lost Robot,” and it shows that although the three laws can protect a person from harm, it does not mean that a robot cannot present a problem. On an off-world research station, a robot is told to, “get lost.” It does this by blending in with a new shipment of robots and planning to return to earth on its own. Dr. Calvin must figure out how to make this robot reveal its identity before it becomes a fugitive.

“Escape!” had originally been published in the August 1945 edition of “Astounding.” For some reason Campbell changed the title to “Paradoxical Escape,” which irritated Asimov to no end (he almost never liked when an editor changed his story titles). It deals not with a robot, but with an immobile machine (later to be called computers) that still has a positronic brain and is ruled by the three laws. U.S. Robotics asks it to build a hyperatomic drive motor and Dr. Calvin uses her knowledge of robopsychology to ensure the “brain” does not break down. Once the ship is completed Donovan and Powell are called in to test the ship out. This turns out to be the death of them, so to speak. It was the last story Asimov wrote to feature this team and Susan Calvin took over as the central character in this phase of Asimov’ robot stories.

“Evidence,” is the eighth story in this collection and it is different in many ways from Asimov’s other robot stories. In it he presents the possibility of a “humana-form robot.” This is a robot that on the outside looks human. In all of his earlier stories, and the immediate later ones, the robots were large, very mechanical, and obviously not human. The idea that a robot could be made to look and act human was not a new idea in literature, but Asimov, being the scientist that he was, knew that the ability to do this was far in future. His robots were robots and acted as such. In “Evidence” an up and coming politician is accused by his rival of being a robot. At this time robots are all but banned on earth even though they are used extensively in space. Dr. Calvin is called in to see if she can identify if Stephen Byerley is a man or a machine. The beauty of the story is that it is never positively answered. It also sets the stage for the final story ion the collection, not to mention the first robot novels Asimov will soon write. “Evidence” appeared in the September 1946 edition of “Astounding Science Fiction.”

The last story in this collection is called “Evitable Conflict,” and it is a sequel to “Evidence.”
It is the first story that Asimov wrote that had only computers, or “machines” as he called them, in the story. In the future, the world is divided not into nations, but into regions. Each region supplies humankind with the materials that it best can. The task of running all of this production is turned over, in large part, to the “machines,” because it is more efficient that way. However, someone has noticed that small problems are developing. And they are only developing in areas run by men who are hostile to machines. Could the machines of the world be arranging things so that men hostile to them are “fired” and replaced with more machine friendly managers? In the name of what is good for man, are the machines trying to take over? Dr. Susan Calvin is called in to investigate. The problem is, who’s side is Dr. Calvin on?

The book ends with an added paragraph on the death of Susan Calvin shortly after her retirement.

These are not the last of the robot stories of course, or of Dr. Calvin. But that should be saved for “The Rest of the Robots.”

As stated before, these stories were altered to fit into this book. If you want to read the original stories, unaltered for the most part, I would suggest “The Complete Robot,” published by Doubleday in 1982 and still in print at this time. Other than that this is a very good introduction to the writing of Isaac Asimov and I would recommend it to anyone. The stories are sharp with memorable characters and a good way to get your feet wet in the Asimov universe.

Asimov Book Review - Great Science Fiction Stories of 1939

Great Science Fiction Stories of 1939
by Lacey Kat
This work is copyrighted by author (c) 2014

The problem with notoriety is that as your name becomes a household word, you are looked upon by more and more people to lend credibility to their endeavors. Movie stars recommend lip-gloss, while athletes give you the impression that it is that shoe or this shaving cream that provides success.

So it is with great authors like Isaac Asimov. Varies corners of the Science Fiction world feel that their product will sell better if the Asimov name is on the cover. In the past, we have seen T.V. shows such as "Probe" feature the good Doctor's name before the title. The makers of the film "Fantastic Voyage" had Asimov write a book based on the screenplay, even though he did not write the screenplay. It has come to the point were "Asimov Presents ..." has become more of a red flag than a welcome sign.

The problem with the use of the name "Asimov," is that while I may appreciate how much Katy Perry likes a lip gloss, I in no way think she is responsible for its manufacture. However, when I see Asimov on the cover of a novel or anthology, I am lead to believe that Isaac had a large hand in its creation. This is not always the case. The wary reader must look at the Asimov name to see if there is a small apostrophe after it. A mark that would indicate that not all is "write" with this picture.

"Isaac Asimov Presents Great Science Fiction Stories of 1939," was the first in a series of anthologies that looked at what Asimov thought were the best stories of a given year. First published in 1979, it has been re-issued by Dorset Press and is generally available. It features a collection of short stories from authors most of us today are not familiar with, to the early efforts of the giants of our field. Names like Henry Kuttner and Nelson Bond are right next to Robert Heinlein, Theodore Sturgeon, and L. Sprague De Camp. Even Isaac Asimov produced a great science fiction piece that year, (Trends) and it is included. It is a good collection of stories that have stood the test of time. Not hard science fiction, but humor and adventure that can be enjoyed by an intelligent public today.

That said, I must raise the cautionary flag and explain my low rating. While Isaac Asimov's name is prominent on the cover, that is the only place it is so prominent. This is an anthology that was edited by Asimov and his longtime associate Martin H. Greenberg, although it would seem that Mr. Greenberg did most of the work, both behind the scenes and on paper. Each story is presented with a fine introduction, but the bulk of the introduction is by Mr. Greenberg. Only after he has presented pertinent information, does Asimov add a short paragraph of autobiographical importance. Even the introduction, often the best part of an Asimov anthology, seems to have been written by Martin Greenberg (no credit either way is given though Asimov signs his contributions with an AI elsewhere in the book).

Please do not get me wrong. I am a big admirer of Martin H. Greenberg and lament that he does not get the credit he deserves in preserving our SF heritage. His work with Asimov has produced numerous anthologies of work that could have been lost without his efforts. However, in those anthologies the introductions we Isaac's, and his thoughts and experiences helped flesh out the stories. In this case, the on page contributions of Asimov could have cut and pasted from his other works. For example in the introduction to L. Sprague de Camp's "The Gnarly Man," Asimov only repeats his observation that both he and his wife can pass for half their age. Interesting yes, but no connection to the story, why it was chosen, or its possible effect on Asimov's later story, "The Ugly Little Boy." In the case of the introduction of "The Misguided Halo" by Henry Kuttner (also of the team "Lewis Padgett"), Asimov simply relates that he met Kuttner once at a party, and he could not get a word in because of Heinlein and de Camp. And with the story "Ether Breather," by Theodore Sturgeon, Asimov simply relates his surprise the Sturgeon's real name in Edward H. Waldo. I too was surprised, but what relevance does this have to the work and why it was chosen as a great science fiction story of 1939?

This is a good collection from a time other than our own. It is worth reading, but buyers beware. If Asimov had a lot to do with this collection it did not show up on paper. This is largely Martin Greenberg?s work. Greenberg is an intelligent author who deserves the credit. However it is Asimov's name that is first on the cover, and I expected more of him on the pages. This seemed more like a product endorsement than an authored work.

Caves of Steel

by Lacey Kat
This work is copyrighted by the author (c)2010

In 1950 Horace L. Gold, a minor author from the 1940s, was starting a new science fiction magazine to be called “Galaxy.” By this time Isaac Asimov was a well-established writer in the field so natural Mr. Gold contact him and asked for a story for the first issue. Up until this time, John W. Campell had all but dominated the world of science fiction as well as the talents of Isaac Asimov. However, Campbell was now steering his life toward "Dianetics" and a series of other follies, and Asimov found it increasingly difficult to write the stories Campbell wanted for his magazine “Astounding.”

The world of science fiction was changing and with it so was Isaac Asimov. Not content with being only a short story author, Isaac was trying his hand in novels as well as articles and textbooks of science fact. However, at this time, science fiction was still his first love, and he welcomed the new markets that were opening up.

By 1952 Asimov had six books published, including his famous “Foundation” stories, and his first collection of Robot tales. He also had two original novels in the stores, a third one in the hands Doubleday Publishers, and the first of his “Lucky Starr” books in the juvenile market.

On April 19, Asimov met with Gold to talk about his next project. “The Currents of Space,” was going to be serialized in “Astounding” and Horace wanted the next novel to appear in “Galaxy.” Asimov liked to keep all of the markets happy, they buy your work more that way, and so he met with Gold and listen to his ideas.

Gold suggested a robot “novel.” Asimov was already the father of the modern robot story so why not make the transition from short tale to broader themes? Asimov was reluctant at first, not knowing if the three laws of robotics, now an Asimov trademark, were enough to carry a whole novel.

Gold had the idea to feature a world over populated and with robots taking over human jobs. Asimov found that idea too depressing and did not think he was up to sociological implications of such an idea. Gold then suggested making the story a simple murder mystery. A story about a cop with a robot partner who must solve the murder or be replaced by automation. With give and take between author and publisher, the final story became known as “The Caves of Steel.” 

The story takes place on earth, a thousand years from the era of the previous robot stories. There are fifty distant planets that were first colonized by Earthmen, but now look at their home world with disgust. The “Space Worlds,” as they are known, are clean, reasonably populated planets were technology flourishes, robots are plentiful, if not mandatory, and almost all disease is eliminated. This results in people who live very long lives, and do not want anything interfering with them. The earth, on the other hand, still distrusts robots, has been cut off from space by the outer worlds, and whose dense population now lives in enormous underground cities, must use communal washrooms and eating centers, and eat almost nothing but engineered varieties of yeast. Even at this, resources are running thin and almost every calorie of energy must be accounted for.

The “Spacers,” a collective term earthmen use for all inhabitants of the other worlds, have used their superior technology to keep earth subjugated to their authority. They have a consulate known as “Spacetown” outside the domed upper level of what is now called “New York City.” A complex hive of humanity over two thousand square miles and holding twenty million people. A “Spacer” has been killed, three days ago, and an earth detective has been called into the Commissioner’s office to solve the crime. That is where the story opens.

The detective’s name is Elijah Baley. He is a plainclothesman, rating C-5, who is nothing more than a good detective in a large metropolitan police force. He has a wife and one son and resents the fact that robots, until recently banned on earth from anything but farming and dangerous jobs, are now starting to be seen in the city, and are starting to take the menial jobs away from men. The Commissioner wants Baley to investigate the murder. The “Spacers” want him to take on a partner in the investigation. The partner’s name is R. Daneel Olivaw. The “R” stands for “Robot.”

R. Daneel is a “humaniform” robot. This is not a new concept in the robot world of Isaac Asimov. Several of his earlier tales involved humaniform robots, but the story stresses that it is a new concept to the world he has created for this story. The idea of robots is unsettling enough for the people of earth. That you could make a robot that was almost indistinguishable from a human would lead to riots and other protests. R. Daneel is to be Elijah’s partner, but his true identity is to remain classified.

The story then follows both detective and robot partner as they try to discover who killed an eminent “spacer,” why, and what will the consequences be for Earth when the rest of the “Spacer” worlds find out. Asimov also paints a complete picture of the earth society a thousand years hence

This is a science fiction and a good mystery novel. Some reviewers have felt that this is Asimov’s best novel, but I must disagree with that.

Isaac Asimov once lamented that his most famous and popular short story was “Nightfall.” He felt this way because he wrote it in the 1940’s and thought that he had grown as an author since then. While he did grow, I have always felt that “Nightfall” was one of those unique short stories that transcended an author’s talents. That it is almost an alchemical blend of talent, story idea, and alignment of the planets, that results in a piece f literature that is better than the author's talent of the time.

Having said that, it is this author’s opinion that Asimov’s talent as a novelist did develop over the years, and that his early novels, while good, were improved upon as he got older. “The Caves of Steel,” reads more like a pilot episode for a proposed series than a novel. Asimov spends an inordinate amount of time setting the stage for future stories. The society of earth, buried in huge, underground beehives of activity, are described in more passages than are needed to establish the plot. Baley’s daily life and family relationships, not a critical part of the story, are laid out in exact detail. The problems that earth now faces, and will soon face, are presented here as if this were the show bible for a T.V. series.  That it is a book used to help writers keep future show stories in line with the past ones. It is almost as if Asimov planned to present a series of Elijah Baley and R. Daneel Olivaw stories or even a future earth series. However there is no evidence that that was ever on his mind, and for a significant period of time Asimov only wrote one other story with these characters and universe.

[Note: Those familiar with Asimov’s literary history know that he did write other Baley/ Olivaw stories much later in his career. Those familiar with Asimov’s literary work also know the important role R. Daneel Olivaw plays in blending the originally separate worlds of “I, Robot,” and “Foundation.” However, that idea was not even a neuron pulse at this time in Asimov’s life.]

Please understand that this is a good book and well worth reading. My only point is that it is not Asimov’s “best” work. That would come later.

It is always interesting to read science fiction from another era. To see how even a man well trained in science tries to build the technology of the worlds of tomorrow. For example, Asimov has a world so overpopulated that they are forced to live underground in “Caves of Steel.” The population? Eight Billion. Only two billion more than the current population. Books are on film and must be viewed with a reader (palm pilots and e-books?) Videos are viewed through a “Video-piping system” or what we now call “cable.” Walls can be made transparent with the touch of a switch, like polarized glass. Yet the head roboticist in this city a thousand years hence still uses a “slide rule” to do his calculations and his electronic book is “indexed” to the amazement of his colleagues. Science fiction authors, it would seem, have some trouble letting go of technology they deal with most closely.

One interesting note. In his world of the future, Asimov paints earthmen as extremely agoraphobic. Living in underground cities for generations have made excursions to the outside world unbearable. This plays a key part in the story but I found it an interesting extrapolation of the society Asimov built, and not one I saw as inevitable. However, as I read his autobiography Asimov mentioned that the publisher of Galaxy, and the originator of the story idea for “Caves of Steel,” could not go out in the open, nor could he speak, face to face, with people he did not know for any period of time. One meeting Asimov had with Gold, in Gold’s own home, had to be conducted by phone, between two rooms. It was the only way Horace Gold could relate to other people without panic. Asimov never mentioned if this was the inspiration for the agoraphobia plot point in his story, but I feel there must have been a subconscious push to include this psychiatric anomaly.

“Caves of Steel” is a seamless blend of science fiction and mystery and is a must read for fans of either genre’. However, it is not without its faults. The “plot twists” are clumsy and the final culprit will not come as a surprise to anyone who has been paying attention throughout the story. Still, it is a good example of Asimov’s developing talent and a good transition from his short stories to his novel works. He would get better, but I would give my Nancy Drew decoder ring to have my talent at this level.

Black Widowers, Tales of the

by Lacey Kat
This work is copyrighted by the author (c)2003


Isaac Asimov was an author.

By that I mean he wrote.

By that I mean that he wrote a lot, about a lot, covering a lot. He also wrote in a lot of different fields. He is known to general the public for his science fiction, and justifiably so. However of the more than 400 books Asimov wrote or edited, very few were science fiction. The others covered everything from animals of the Bible to Gilbert & Sullivan, to American and World history, to myths and mythology, and mysteries.

Actually, mysteries were a staple of the Asimovian stable. He was reading mysteries almost as long as he read science fiction. His father owned a candy store and, in those days, candy stores also had magazine racks. When he could, Isaac stole away and read the pulp and dime novels that stood on the store shelf. Two of his early novels, "Caves of Steel," and "Naked Sun," were full-fledged murder mysteries, as well as good science fiction.

"Tales of the Black Widowers" is the first collection of short mysteries Asimov originally wrote for "Ellery Queen's Mystery Magazine" from January 1972, to September 1973. It also contains three original stories written just for this book. Each story contains a short afterword highlighting important facts about the story (original title, published title, etc.) as well as the genesis of the ideas presented.

The stories all revolve around a group of educated gentlemen who meet once a month for the sake of comradery, conversation, and culinary delight. These men (no women are allowed) call themselves the "Black Widowers." Each month one of the members plays host and brings a guest he feels the others will find interesting. And that is where the mysteries come in. The guest usually has a problem that cannot be solved. Over dinner, dessert, and brandy, the "Black Widowers" question the guest, argue amongst themselves and add their own personal expertise to the problem de jour. In the end, it is the waiter, Henry, who sees something the educated men have missed and solves the problem.

A word of warning to mystery buffs. These are not your typical "two-minute mysteries." You, the reader, are not always presented with all of the pertinent facts before the solution is revealed. You are pointed in the right direction, but often Asimov feels there are things you should already know (the original meaning of Episcopalian, and how it relates to Lewis Carroll, for example). Asimov never wrote down to his audience, and a mystery purest may feel he is not playing fair. These are also all "armchair" mysteries. Intellectual problems solved in the tradition of Nero Wolfe. There are no tough guys, hot dames, muscle with rods, or Maltese Falcons.

What Asimov presents are intelligent conversation, good, but not always well defined, characters, a nice mystery, all presented in twelve pages. He shows the value of an education, but also pokes fun at pompous intellectuals. In the end, it is the quiet man who sees the answer. The man who wears his talents as he wears a watch. For his own use, not for showy display.

Mystery aficionados may find this collection weak. However those who enjoy good writing will enjoy this book as a light diversion, and worth their time. It is currently out of print, but easy enough to find on used book sites and Amazon.com.

The Early Asimov

by Lacey Kat
This work is copyrighted by the author (c)2003

Before Asimov finally sat down and wrote his autobiographies, "In Memories Yet Green", and, "In Joy Still Felt", he skirted the job by producing three volumes of his stories bracketed with biographical information. These were, "Before the Golden Age," "Buy Jupiter and Other Stories," and subject of this review, "The Early Asimov." 

"The Early Asimov" is a collection of the first stories that Isaac sold to pulp magazines of the nineteen thirties and early forties. These are stories that have not been published in any of Asimov's other collections. They are not his best work, nor his worst. They are a response to the numerous letters Asimov received asking for complete lists of his published work and the stories behind them. 

The book opens with an explanation of its origin and as brief a biography as needed to bring the reader up to speed as to how the first story was sold. It refers to Asimov's first written effort for publication, "Cosmic Corkscrew," and his first meeting with John Campbell, the man most responsible for Asimov becoming more than the most popular teacher at the Boston University School of Medicine. It does not contain "Cosmic Corkscrew," unfortunately, for that effort is lost to the dustbins of history. It does start with the second story Asimov ever wrote and the first to see professional publication, "The Callistan Menace." 

The stories are arranged not in order of publication, but in the order they were written. The reason given, and I have no reason to doubt it, is that this is a more accurate view of Asimov's literary development. Also, many stories were written and accepted by different magazines of the time, and they had different publishing schedules. Some stories were sold and published in a few months, others were delayed in publication for a year or more, while some were sold to magazines that folded, and had to be resold to other magazines. 

These are Asimov's early efforts and the quality is not up to the standards we expect from the master. It is interesting to see the early development of ideas that became Asimov standards. In the "Black Friar of the Flame," we see earth, subjugate by ooff-worlders rising in revolt, as would later happen in Asimov's first book-length novel, "Pebble in the Sky." We also see a galactic civilization that would later fill out the "Foundation" series. There are also a few stories involving alien life forms in close contact with humans. Something Asimov abandoned for a "human only" universe. 

Of the three books in this biographical series I found "The Early Asimov" to be the least appealing. I don't think Asimov had yet formulated the idea of literary biography so the additional information is dry and to the point. There are few personal details that flesh out the stories in his other two books and if he had re-released this volume, after "Buy Jupiter," I am sure he would have changed the biographical information. 


The stories are good, even for early efforts. The peek into the life of a young author are worth the cost of the book and should be mandatory for any budding writer to study. We all want to be successful authors, the real world often has other ideas. Asimov politely shows how hard the publishing world can be. This is an education you do not always get in Composition 101. 

Asimov on Science Fiction

by Lacey Kat
This work is copyrighted by the author (c)2003

One of the advantages of being a prolific writer is, that given enough time, you will have written something about everything. Then if someone comes to you and says, "we need a book on 14th-century drink coasters," all you have to do is go through your files and pull the appropriate past works.

In the late 70's Isaac Asimov, already a prolific writer and noted author of Science Fiction, had written about a very large host of subjects (though not 14th-century drink coasters). One subject that was remarkably absent from his list of works was a book about science fiction. Not that he had never written about science fiction. In fact, though a series of essays in a number of magazines, Asimov had written extensively on the subject. It just never occurred to him to assemble these wayward musings into one central location.

Fortunately, for those of us in the reading public, Asimov had a good friend and business associate named Martin H. Greenberg. It was he who suggested that the good doctor put together a group of essays that would make a book that could be called "Asimov on Science Fiction." 

This is an entertaining and educational collection of fifty-five essays on almost all factions of science fiction. It is divided into eight sections that separate the field into areas such as "Science Fiction in General," "Writing of Science Fiction," "History of Science Fiction," along with sections on Science Fiction Writers, fans, reviews, and finally Science Fiction and Asimov himself. 

Some of the essays are a bit dated, and some originally had references which only made sense in the context of the place of publication. Fortunately, Asimov, as he was wont to do, recognized this minor problem and included prologs and afterwards to help smooth out any of these rough edges. 

Any science fiction fan should take the time to read this collection. Not only does it include a brief history of the genre, but suggestions on becoming a writer, a look at the giants of the field, a look at the "current" state of the art, and reviews of "Star Trek," "Star Wars," (which he liked), and "Close Encounters of the Third Kind" (which he did not). There is also an extensive review of George Orwell’s "1984." Asimov answers the question, "what makes good science fiction," why he and Hollywood have never connected, and why you may not wish to become a prolific writer. As with most collections of Asimov essays, this work is an education well worth the cost of the book.


Published in 1981 by Doubleday & Company, it is currently out of print but can be found on most used books sites that deal with science fiction in general, and Asimov in particular. 

Asimov's Mysteries

Asimov's Mysteries
by Lacey Kat
This work is copyrighted by the author (c)2003


The problem with being a science fiction fan is that most people do not know what science fiction is. They think of “Buck Rogers,” ray guns, and rocket ships with fins. They do not think of “literature” and would never think of putting science fiction on the same shelf with “Romance,” “Western,” or “Mystery.” “Those,” most people would say, “are legitimate writings. Not science fiction.”
Yet what is the difference between a science fiction story and any other “adventure” tail? Is there not adventure in traveling to the moon or Mars? And what of romance? “John Carter” fights whole armies for the love of his princess. Why is he different from any other “Harlequin” hero?
And what about mystery? For the longest period of time it was thought that you could never have a science fiction mystery. The “logic” was that in science fiction the author could invent any device he needed to solve the crime instantly. It was an unfair advantage in this day and age when both sleuth and readers were supposed to have the same chance of solving the mystery. (I say in this day because there was a time when mysteries were simply presented to the reader. The author made no pretense in the reader’s ability to solve the puzzle. That changed in the last century) Isaac Asimov never bought that argument. He felt that as long as you were fair, and let the reader in on the clues, you could have a science fiction mystery as legitimate as anything Ellery Queen ever wrote.

In 1953 Asimov put his typewriter where his mouth was and wrote a science fiction mystery novel called “The Caves of Steel.” It met with critical approval as a good science fiction and mystery novel. The curse was broken and science fiction authors could start producing space-age Sam Spades.

“Asimov’s Mysteries” is a collection of thirteen short science fiction mysteries that Asimov wrote between 1954 and 1967. They vary in length and mystery quality but are a good read for any fan of Isaac Asimov, science fiction, or mysteries. Fortunately for the reader, they were put together at a time when Asimov started to add information to his collections. Each story has a forward, or afterward, that explains why the story was written, or some other little quirk that the reader might like to know. I have often found these to be the most entertaining part of any Asimov book.

The first story is entitled “The Singing Bell,” and introduces us to Asimov’s prime science fiction investigator, Wendell Urth. Professor Urth is the foremost authority on extraterrestrial worlds, even though he has never been more than a few dozen miles from his current office in his life. This may have reflected on Asimov’s fear of flying and his desire to remain in his rooms and write.
The story centers on a cash of “Singing Bells,” which are highly prized lunar artifacts that are to die for. Or to kill for as is the case of the story. The problem is that the primary suspect has a solid alibi that the police cannot crack. It is not going to be my policy to spoil the mysteries in this review, but the solution is a little weak and even Asimov feels the need to defend it in an “afterword.” Still, it is a good mystery and a good introduction for Wendell Urth.
The story was rejected by “Ellery Queen” magazine, its intended audience. It was also rejected by “Astounding,” and “Argosy,” but was finally accepted, with some revisions, by “Fantasy and Science Fiction (F & SF).”

The second story in the collection is also a Wendell Urth mystery. It is called “The talking Stone,” and is set in a time when the asteroids are heavily mined, and little creatures called “silicony” are telepathic pets. The crew of a space miner is killed and it is up to Dr. Urth to solve the cryptic riddle of the lost cargo. It is a clever story and shows that Asimov had a talent for alien creatures. A talent that he seemed to abandon in his later writings.

“What is in a name?” is not a science fiction story in the strict sense. It is a “straight” mystery though its characters are chemists, it is set in the chemistry department of a university, and the solution depends on a chemical gimmick.
It was published in 1956 in “Saint Detective Magazine.” To fit in more with the “detective motif,” they changed the title to “Death of a Honey-Blonde.” Asimov did not like when editors changed anything about his stories, and he changed it back the first chance he got.

“The Dying Night,” is another Wendell Urth mystery. It involves the reunion of college friends all of whom have had “stellar” careers in outer space. One of the group has not been so lucky but is about announce that he has solved the problem of mass transfer. That is until he ends up dead. (Of course) No one can solve the crime so Dr. Urth is called in to help.
First published in 1956, it has become dated by discoveries made in the 1960's. This does not detract from the story, and as Asimov says, “I wish astronomers would get things right to begin with.”

“Pate De Foie Gras,” is not a mystery at all, but is a very clever article in the vein of Asimov’s infamous “thiotimoline” articles. It is a mock-serious study of a goose that laid golden eggs. Along with being a fun read, it is also educational as Asimov must make sure the reader has some knowledge of basic biology.

“Dust of Death,” was to be another Dr. Urth mystery, but F & SF rejected it and a new magazine “Venture Science Fiction,” was about to publish, and needed filler. They were going to specialize in “sexier” SF, so Asimov removed the Urth motif and Bob Mills, editor, bought it.
Heavy in planetary chemistry, but not so that it bores the non-chemist, it revolves around the “accidental” death of an industrialist who has made his fortune on the work of his employees. Did one decide that it was time to get more credit, or was it just a chemical slip up?

“A Loint of Paw,” is one of the turns of phrase stories that Asimov does so well. It is a short play on works that Asimov always considered the noblest form of wit.

The next story that Asimov included in this collection is interesting because it shows the “problem” some authors have in writing sexy scenes. Asimov was not noted for being a literary Casanova and when he introduced “I’m in Marsport without Hilda,” he called it a “James Bond type of story.” However, in his biography, he called it a “science-fiction sex story.”
The story is about a super secret agent who finds himself on Mars without his significant other. He calls a hot old girlfriend but before he can see her his boss has an assignment for him. He has only three hours to “save the universe.” Will he save the universe? Will he get the girl? And what about the girl back home?  This is not erotic fiction at its best, but it is a good story and more true to life than most “James Bond” stories.

The next story (or stories as they are connected), is a treat for Asimov fans. “Marooned off Vesta” was the first story that Asimov ever had published, in “Amazing Stories, ” back in 1939. On its twentieth anniversary Asimov suggested that “Amazing” might like to publish an update of the story. Asimov looked at the original and found a “throw away” line that he turned into a “mystery.”
Following the original “Marooned of Vista,” a story I have always liked and Asimov always seemed to apologize for, comes “Anniversary.” It is twenty years later and the three characters of the first story come back for a twenty-year reunion. Life has been good to them, but fame is fleeting and they are now only the “forgotten heroes” of a space disaster long ago. Only for some reason the site of their adventure is off limits and everyone is looking for something one of the men has. But what?

“Obituary,” is the next story in the collection and it is unique for several reasons. First, it is written in the first person. Something Asimov rarely did. Second, it has a woman as narrator. In 1968, when Asimov put together “Mysteries,” he was polite about how this “good” story has been received in the publishing community. By the time he wrote “In Joy Still Felt,” 1979, he was a little more reflective. He felt that it was “unjust” that “Obituary” had been passed over in anthologies.
The story was inspired by the obituary of “Cyril Kornbluth,” a noted SF author. His death affected Asimov in a queer way and he wondered if, when his time came, his obituary would be on the front page of the New York Times. Realizing this was a silly feeling, Asimov exorcised his demon by writing “Obituary.”

The story is a thriller about a scientist who uses a time machine to see his own obituary and gain fame by “rising from the dead.” It would do Hitchcock proud but appeared in F &SF. It is a different sort of story for Asimov and showed a side seldom seen. Asimov could have had a career as a horror author. This was my favorite story in the collection, and without spoiling anything, made me want to defrost a leg of lamb.

“Star Light” is one of the very short stories that Asimov did so very well. It involves a thief who steals a kilogram of Krillium, enough to set him up for life, if he can get away with it. But crime does not pay, and the thief is caught, and imprisoned, in a poetic way. What are the odds?

“The Key” is the second to the last story in this collection, and the fourth Wendell Urth story Asimov wrote. It was ten years after the last Urth story was written, and it appeared in a special edition of the Magazine of Fantasy and Science Fiction. An edition devoted to Isaac Asimov.
This story deals with the discovery of an alien artifact on the moon. One man wants to use it for profit, but another wants it used for the benefit of mankind. Death ensues and the artifact is hidden before the authorities can be called. However a clue is left and it is up to Wendell Urth to decipher “The Key,” to this mystery.

At one time Asimov wanted to write a series of Urth-based mysteries and then collect them in one volume. He never got around to that, but he did realize that he wrote other mysteries, and that is how this volume came to be.

The final work in this collection is called “The Billiard Ball.” It is the only mystery Asimov knew of to combine the mystery form with Einstein’s General Theory of Relativity. It was published in “If” magazine in 1967 and the year before both Asimov and “If” had won Hugos. Fred Pohl had the idea of putting out a “Hugo Winners” edition and tagged Isaac to with a story for the issue. Asimov agreed and “Billiard Ball” was the result.  The theme of the story was one that Asimov visited often, including twice in this volume alone. The hard-working scientist comes up with discoveries, but it is someone else who makes the money off of them. I do not know if there was a personal reason for these story lines, he never mentioned any, but they appear from time to time.  The beauty of this story is that you never really know if a murder has been committed or not. A cocky promoter uses a scientist’s discovery to make an “anti-gravity” device. During the first public demonstration, a horrible accident happens with only one fatality. Murder or accident?  In the afterword, Asimov tells the story of how a friend suggested the title be changed to “dirty pool.” Asimov refused because it sounded too flippant. And he was upset that he did not think of it first.

The book was first published in 1968, but is still available at Amazon.com. Interestingly, when Dell published it, the misspelled Urth on the back cover. They refer to him as Wendell "Orth." I do not know if they corrected this in the 1972 reprint, but it may make the 1968 edition a collector’s item.

Asimov Book Reviews - Second Foundation

Second Foundation
by Lacey Kat
This work is copyrighted to the author (c) 2003


The Foundation was gone.

At least the Foundation that Hari Seldon had worked so hard to establish. The Foundation that, for three hundred years, had been the cornerstone of his great plan. A plan to blunt the fall of the great galactic Empire and bring peace and stability to the galaxy in a mere thousand years.

Seldon, using the discipline that became known as “psychohistory,” set about a state of affairs that he felt would be man’s best hope to shorten the coming Dark Ages. He foresaw everything except the one thing he could not factor. A Mutant. A creature known as the Mule. Born with the ability to mold men’s emotions and shape their minds, he could make his bitterest opponents devoted servants. Against such a power even the Foundation could not, nor would not, fight him. The Foundation fell and Seldon’s plans lay almost in ruins.

I say almost because Seldon did one thing to hedge his bets on the future. He created a “Second Foundation,” at the “opposite end of the Galaxy.” While the First Foundation was devoted to science and lived in the daylight, this Second Foundation lived in the shadows. It was this foundation that the Mule now feared, for he could beat the machines of the First Foundation, but could he beat the minds of the Second?

This then is the opening of the book “Second Foundation.” The third, and final edition of Isaac Asimov’s original “Foundation Trilogy.” It was originally published as a short story, called “Now you See It-”, and a multi-part novelette, called “-And Now You Don’t,” in “Astounding” magazine in January of 1948, and November of 1949. In 1953 Gnome press collected the two stories into this “final” volume.

The story behind the Foundation series is almost as interesting as the series itself. To catch up on the story behind the stories please refer to the reviews of “Foundation,” and “Foundation and Empire,” on this site.

Asimov started writing his next installment of the Foundation saga in the fall of 1946. He finished in February of 1947 and turned it into the editor of “Astounding,” John W. Campbell. Asimov had been writing the Foundation series for the better part of five years and he had grown a little tired of the endeavor. After seven stories, totally about 185,000 words, he felt it was time to end this part of his writing life and move on to something new. Originally the story Asimov handed to Campbell had an appropriate ending to the series. Campbell, who had originally derailed Asimov’s original story line, liked the Foundation series in his magazine and told Asimov that he wanted a new ending. One that left things open to continue the series. He was firm in his wants, and Asimov was not as firm in his. Campbell got his new ending, Asimov got a check for $500, which he used to buy his wife, Gertrude, a mink-dyed opossum fur coat, and we the readers got another edition to the series we had come to love.

“Now You See It—“ was changed to “Search by the Mule,” when it was published in book form. It starts five years after the last story, “The Mule.” That story chronicles the Mule’s rise to power and the mad dash by Foundationers to find the fabled Second Foundation for help. The Mule also seeks the Second Foundation, but for other reasons. Having failed to find it by the slimmest of margins (No spoilers hers. Read the book) the Mule stops his expansion into the Galaxy in favor of a consolidation of territory. Using his abilities to alter men’s minds, he has Union of worlds who “love” him and must do what he commands. The post-war Union is economically prosperous and people are “happy.”

Han Pritcher had fought the Mule even after the Foundation had fallen. The Mule then “converted” Pritcher so that he would fight for the Mule. With the fighting over, Pritcher now was sent out to find the “Second Foundation.” After five attempts, without success, he was called before the “First Citizen,” as the Mule was now known, and his assignment altered. The Mule teamed Pritcher up with a younger, unconverted, adventurer named Bail Channis. Channis, the Mule thought, might still have that creative spark that a converted mind might lack. Between that spark and Pritcher’s experience, the Second Foundation might be found, eliminated, and the last roadblock to total galactic domination would be removed.

“Search by the Mule” is a shorter story than the two that bracket it. It moves almost too quickly for the amount of story it covers, and the importance of battling the Mule in Seldon’s plan. Every move is a direct move and there is only the barest of development needed to propel the story. Those familiar with Asimov’s later move into novels will find this story uncomfortably light fare. As big of a problem as the Mule is, he is dealt with too easily for this author’s tastes. Perhaps this is the result of Asimov’s tiring of the series.

With the Mule taken care of, the stage is set for the final confrontation in the original Foundation series. With the Mule gone, and man once again free, the Foundation rises from the ashes and starts again to continue Seldon’s plan. However, with the existence of the Second Foundation no longer a myth, regular men start to resent their fates shepparded by any mental giants, be they Mule or Second Foundation.

In October of 1948 Asimov once again was getting pressure from Campbell for another Foundation story. Asimov had the idea to use the story to reveal the “secret location” of the Second Foundation. He also firmly indicated that this would be the last of the Foundation stories. Campbell agreed but wanted the story to be 50,000 words long, almost book-length, so he could run it as a serial. This, he thought, would end the series on a high note.

Asimov had problems from the start. As the series progressed more and more time passed between publications. Each story relied on information presented in previous stories and enough time had passed so that the current reading audience might have missed the original entries. In order to catch those readers up to speed, Asimov started the story with a young girl reading her assignment on the history of the Foundation to her class. It was a week beginning, but the makeup of the series, and thus this final entry, made it mandatory. Asimov worked hard on this entry and it killed the enthusiasm he had for it 7 ½ years earlier when the idea occurred to him. Even Campbell realized that he had had enough.

The story was originally entitled, “–And Now You Don’t,” to continue with the title of the previous story. However, in the book version, the title was changed to “Search by the Foundation.” The girl who opens the story is Arcadia Darell, who is the granddaughter of Bayta Darell, the first strong female character Asimov ever wrote. She is also the woman who defeats the Mule in the closing pages of “Foundation and Empire,” which adds to the continuity of these stories.

Arcadia’s father feels that the Second Foundation must be dealt with or the First Foundation will stagnate and die. He is not sure if Seldon’s Plan can be saved, but he is sure that the Second Foundation should not have the honors.

To fight the Second Foundation they must first find it, and the best place to start is in the Mule’s old palace and archives on his base world of Kalgan. There the current “First Citizen,” a title left over from the Mule’s days of conquest, feels that he, and no the First Foundation, is the more logical seed from which the next Galactic Empire will grow. In the background is the Second Foundation, who must pull the right strings and not get caught.

This story is more involved than the last one and spends more time developing characters and plot twists. We are also introduced to the tools of the Second Foundation, tools that Asimov uses in the future Foundation novels he chooses to write thirty years hence. There are two endings to the story and for a time the series. The first is the “Answer that Satisfied,” and the second is the “Answer that was True.”

Oddly enough, though he bemoaned the work involved with the Foundation series, and the joy in bringing it to an end, Asimov left the final story open enough to come back to should he change his mind. Fortunately, for his fans, he did change his mind some time later. But that is another review.

Asimov handed in this “final” entry to the Foundation Saga on March 31, 1949. It was published beginning in the November issue of “Astounding” magazine of that year.

Science Fiction had always been the poor stepchild of the publishing world. Until the end of World War II, and the ushering in of the “Atomic Era,” Science fiction was the stuff of pipe dreams and children. Almost all of it, from the previous twenty years, had been published in “pulp” magazines. Few hardback books were devoted to the subject. After the war, science fiction was sought after by the general public and legitimate publishing houses scrambled to put out novels and story collections. Asimov went to Double Day and Little, Brown and offered them the foundation series for book form. They, being short-sighted, wanted only “new” stories, and turned him down. Martin Greenberg was starting “Gnome Press,” and loved the idea of a Foundation Trilogy, and the books went into print.

And they have remained in print ever since.

In 1966 the Foundation Trilogy won the Hugo award for “Best All-time Novel Series,” beating out J. R. R. Tolkien, Robert Heinlein, E. E. “Doc” Smith, and Edgar Rice Burrows.

Side Note;  I included the two Ace Books Versions of the First two Foundation Novels but have not been able to find if Ace printed a version for Second Foundation.  If you know of one, please let me know.   Thank you. 

Asimov Book Reviews - Foundation and Empire

Foundation and Empire
by Lacey Kat
This work is copyrighted to the author (c) 2003

“Foundation and Empire,” is the second book published in the “Foundation” series. Originally issued in 1952, it is actually two short stories, originally published in the magazine “Astounding Science Fiction,” in April and November of 1945.

[Note: For a more complete history of the origin of the “Foundation” series, please read the review of “Foundation” on this site.]

The book opens with a simple prolog. Enough information is presented to bring any reader, who has not read “Foundation,” up to speed. “The Galactic Empire Was Falling.” It re-introduces the persona of Hari Seldon, and his plan to save the galaxy from 30,000 years of wreck and ruin. His idea, born of the science he calls “Psycho-history,” is to establish two foundations, at “opposite ends of the Galaxy,” and direct events so that only a mere 1,000 years will pass before order is again established and a Second Galactic Empire will arise. The first book dealt with the establishment of one of the Foundations and its rise against the tide of barbarism. At its closing the Foundation, as it was known, was the most powerful state in the Galaxy, except for the remains of the old Empire. On its last legs, it still controlled the central third of the Milky Way, along with three-quarters of the population and wealth of the universe. A conflict was inevitable.

The first story in “Foundation and Empire,” is entitled “The General,” and it deals with the inevitable conflict between the Foundation and the Empire. Originally called “Dead Hand,” it was published in the April 1945 edition of “Astounding” magazine.

Several factors influenced Asimov during the writing of the Foundation series. As stated in other reviews, Asimov was deeply influenced by Edward Gibbon’s “Decline and Fall of the Roman Empire.” In the spring of 1944, Asimov became a short lived admirer of historian Arnold Toynbee. His six-volume “Study of History” influenced Asimov in the writing of “Dead Hand” (retitle “The General” for the book). However, Asimov soon became disillusioned with Toynbee and the influence stopped with the one story. Another influence for the series was the 1907 twenty-four-volume collection of historical writings entitled “The Historian’s History of the World.” Asimov checked out the series, volume by volume, from the Philadelphia Free Library in the latter half of 1943.

“The General” is unique in that it tells the story from the perspective of the Empire. Bel Riose is the general of the title. The last of the fighting men, he has been sent by an old and stilled court to guard the frontiers of the Empire from the encroaching hoards of the periphery. He is the last competent military leader born too late to save a way of life quickly fading.

Bel Riose has heard rumors of “magicians” in the galactic periphery. Men who can do things he has only read about in the old books of the Empire. He hungers for more than just holding battles against border thieves and dreams of the old days when a general proved his worth by ground won, not just defended. He believes that if these magicians are real, and are a threat to the Empire, he can persuade the emperor to give him the men and ships needed to conquer the foe and raise the flag of the Empire again. If the magicians are real.

In his investigations, Riose learns of the story of Hari Seldon, of the Foundation he was sent to establish, and of Psycho-history and the Seldon plan. He is indignant to learn that the events of the next thousand years are already established and that there is nothing he can do to change their course. The General decides to pit his living will against Seldon’s dead hand.

The war with the Foundation begins, and the scene shifts to a captured Foundation trader by the name of Lathan Devers. His purpose in the story is two-fold. First, he is a spy for the Foundation sent to ascertain the real threat of Riose. Second, he allows Asimov to cover great events in the war with simple dialogue and dispatches. At this point in his writing career, Asimov had neither the talent nor the inclination to write great battle scenes. While it was during the war, Asimov was stateside during the whole conflict and new of the brutality and scope of conflict only through newspapers and newsreels. Rather than write great pages of spaceships ablaze, Asimov moved the action to the back of the story, preferring to deal with a few key players in local areas. This was his strength and he used it well.

The war rages on, the Foundation must try and stop it, however, the eternal questions is always, “is this the Seldon Crisis of the day, and is it already taken care of?” In the end, the best-laid plans of traders and teachers are no match for the foresight of Psycho-history. The Foundation is saved and with it the future of the Seldon plan.


In January of 1945, Asimov went to John W. Campbell to discuss the next Foundation story. Campbell said he wanted to upset the Seldon plan, which of course was the backbone to the series to date. Asimov was not thrilled with the idea because it meant derailing his story idea and sending it in a direction he was not yet sure of. Campbell was not one to be disagreed with so Asimov sulked away to follow orders. To get his pride back he decided to make the new Foundation story the longest, biggest, and wildest yet. He would entitle it, “The Mule.”

The idea for the story was simple, in hindsight. Hari Seldon, through Psycho-history, had carefully laid out the next thousand years of galactic history. As each event unfolded Seldon was there, in image only, of course, telling those assembled to view his recorded messages, that this was what he had foreseen, and that the current crisis would be solved as he had intended. What could possibly go wrong?

What if something happened that Seldon had not foreseen. Seldon could predict the movements of humanity, but what if a mutation gave a man the ability to affect those movements? What place would this unexpected, unpredictable, force have on the Seldon plan? That is the plot of the Mule.

The Mule rises out of obscurity with the ability to alter the minds of men so that they must love him and obey him. He also has the desire to rule the galaxy and punish those who made fun of his as a youth. Against this force what chance does the Foundation have? And if he conquers the first Foundation can the Second Foundation, only to this point alluded too but not seen, save the galaxy from the Mule’s tyranny? That is the plot of the second story.

It is the longest and most complex of the Foundation stories to date. In fact, it was so long that Campbell presented it in two different issues of the magazine. This was Asimov’s first serialized story. It is also unique in having a strong female character. Not only strong but the dominant character in the story. For one of the few times to date, a woman would be a key figure in an Asimov story.

You see, by this time in his life Asimov had been married to Gertrude Blugerman for about two and a half years. Gertrued inspired the character of Bayta, the strong girl in the story. In fact, Asimov later related that Bayta’s quieter husband in “The Mule,” was modeled after himself and what he saw as his role in their marriage. With his life situation now expanded, Asimov used this new knowledge to write stronger female characters into his stories. Ironically Asimov’s science fiction career would soon take an extended break and with it the role of strong female characters. It would be some time before women were more than mere props in science fiction stories.

With the closing of “the Mule,“ the fate of the “Foundation” is sealed. However, because of the strength and determination of one woman, the fate of mankind may yet be saved. That, however, is to be left to the “Second Foundation.”



Side Note;   Ace published their version of this story with an altered title, complete and unabridged.

Asimov Book Reviews - Foundation

Foundation
by Lacey Kat
This work is copyrighted to the author (c) 2007

First, some important background information.
At the 11th World Science Fiction Convention, held in Philadelphia in 1953, the first Achievement Awards for Excellence in Science Fiction were handed out. These were small wooden bases topped with stainless-steel rocket ships, and were called "Hugos." This was in honor of Hugo Gersback, the first publisher of a magazine devoted entirely to Science Fiction.

In 1966 Isaac Asimov won a retrospective Hugo for his novel series, "The Foundation Trilogy." It was deemed the "All-time Best Series," in Science Fiction. "Foundation" is the first book of that series, and before I review the book proper, I feel its history should be noted.

The Foundation Saga was the only planned series of stories that Asimov ever did. While the Positronic Robot stories revolve around the Three Laws of Robotics, and occasionally there are reoccurring characters, these were stories written for their own sake and not part of a well thought out plan. This was not the case with the Foundation Series. The stories were written with the intent of being connected. One plot relied on the actions of the earlier stories. This was unusual for the Good Doctor and, while he was very good at it, it was not an endeavor he repeated in his writing life.

"Foundation," is not actually a novel, but a collection of short stories and novelettes published in "Astounding Science Fiction Magazine" (Astounding) between May of 1942 and October of 1944.

[Please note: This is a review of Foundation and not the Foundation Trilogy. Each book will be reviewed in its turn – Ed.]

It started on August 1, 1941, on a trip to visit the editor of Astounding, John W. Campbell. Asimov was not yet an established name in Science Fiction and to aid his writing career he would often visit the offices of the various Science Fiction magazines to keep his name fresh in the minds of the editors, and to discuss story ideas they might like to buy. This was a practice Asimov would continue throughout his publishing life.

This time, however, there was a minor problem. Asimov was on his way to meet Campbell, but without a story idea. While on the subway he resorted to free association to see if he could stimulate his creative muse. Asimov opened a book he was carrying, a collection of Gilbert and Sullivan plays, and looked at a picture of the Fairy Queen and Private Willis in "Iolanthe." This led him to thoughts of armies, soldiers, empires, the Roman Empire, and finally an empire that spanned the galaxy. An idea was born.

Asimov had tried working with Galactic Empire stories earlier with mixed success (see "Pilgrimage" A.K.A. "Black Friar of the Flame" in "The Early Asimov."). However, this time he had a different idea. Having read Edward Gibbon’s, "Decline and fall of the Roman Empire," twice, he thought of a story telling of the fall of a great Galactic Empire, and the return to feudalism, written from the perspective of the secure days of the second galactic empire.

Campbell loved the idea but thought it was too broad a theme for a short story or novelette. He suggested an open-ended series of stories. He envisioned a number of short stories, serials, novelettes, whatever it took to present this future history to the reading, and more important, magazine buying, public.

Asimov was a bit taken back at first. He was a short story writer and the thought of a novelette was as large as he ever considered. But, Campbell loved the idea and asked for an outline of the whole saga.  At that time Robert Heinlein was writing his "Future History Series." These were to be various stories that would fit into a broad tapestry at different times. They were not to be written in any order, so he needed an outline to keep all of the story lines consistent.

This was a logical request on the part of Campbell, who probably saw this series stretching over a decade or more. However, Asimov never worked from an outline. He tried to create one, but as it got larger and more complicated, he tore it up and started to write. As the stories progress Asimov had to keep reading previous stories to make sure names, dates, and events corresponded. Even with his phenomenal memory and writing talent, on April 1966, a fan approached him with a carefully made out list of inconsistencies throughout the series.
[Aren’t dedicated fans fun?]

So, on August 11th, 1941, Asimov started to write his first story in the "Foundation" series. He submitted it on September 17 and was paid $126. This was an average sum of money for the times. The stories continued for the next eight years, and, along with the Positronic Robot stories, made up the bulk of Asimov’s creative output. It was also the high-watermark of his Science Fiction writing. He once commented that the years spent on the Foundation Series were the most rewarding of his writing life. They helped him develop his technique and kept his name before the public. They also helped establish him as one of the giants of the Science Fiction World.

After eight stories the series only covered half the time frame laid out. Asimov, though, was growing tired of it and wanted to move on to other endeavors. The stories did represent a large body of work and after World War II publishing houses started to print hardback Science Fiction material (unheard of in the 30’s and 40’s). Science Fiction, once the folly of immature minds, was now respectable in the "Atomic Age."

Having already published his first two novels, Asimov went to Doubleday with his Foundation Series and tried to interest them. Walter I. Bradbury, then editor of Science Fiction for Doubleday, did what most in a new area of publishing do. He said, "We want new stuff, not old stories." Doubleday, with uncharacteristic short-sightedness, turned Asimov down.

Asimov tried other publishing houses but with the same results. Finally, a young man by the name of Martin Greenberg (not to be confused with a later associate, Martin H. Greenberg), who had published Asimov’s Robot stories agreed to publish the Foundation Series as a collection of three books. The second and third books would be 75,000 words apiece, but the first was just under 60,000 words long. Greenberg had always thought the series started too abruptly, so he asked Asimov to write an introductory story. This turned out to be very fortuitous.

Which leads me to the Review.

"Foundation," the first book of the Foundation Trilogy, is actually five short stories connected by an overall plot. This is the fall of a galactic empire and the rise of the last hope for civilization.

Part one, "The Psychohistorians," was written for the book and never appeared in print in Astounding Science Fiction. It was added as an introduction of the character of Hari Seldon, who sees that the Empire is falling and has a plan to shorten the Dark Age that is to come. While no one in power believes that a Galactic civilization that has endured for hundreds of generations could ever fall, they recognize that knowledge is power. If this "Psychohistorian" can help keep them in power, he is worth keeping around. They agree to let Seldon, and a number of his colleges, set up a "Foundation," on a remote planet, to compile an encyclopedia of all of Man’s knowledge. This, Hari has told them, will lessen the fall and keep those in power safe. In reality, Seldon sets up two Foundations with another purpose. A purpose that only a few people know.

As stated before, this story was written as an introduction to the book. The character of Hari Seldon was long dead by the start of the original series and only exists to move the stories along. By having Asimov flesh him out, Greenberg would give Asimov a chance to write other novels in the Foundation series some thirty years into the future. It’s a wonderful life, isn’t it?

The next story in the book, "The Encyclopedists," was, in reality, the first story published in the series. It was the story Asimov sold to Campbell, who published it in the May 1942 issue of "Astounding," under the title, "Foundation."

It is fifty years since the last story and the Encyclopedia Foundation Number One has been set up on a desolate, mineral poor, rock of a planet called Terminus. In five more years they will start to publish their first volume of the "Encyclopedia Galactica." Or so they think.

The Galactic Empire has started to fall just as Seldon predicted. Terminus is now surrounded by star systems that have declared themselves separate from the Empire. These four kingdoms have effectively cut Terminus off from the rest of the Galaxy.

Terminus is run by the Board of Trustees of the Encyclopedia Committee, who has given administrative powers to the Mayor of Terminus City. His name is Salvor Hardin, and he alone recognizes the new political situation in their part of the galaxy.

The Encyclopedists, believing that the soul purpose of the Foundation is their work, still live in the days of the old Empire. They believe that the Seal of the Emperor is all the protection they need against the rising tide of barbarism. Hardin, being born in the present, realizes that times have changed, and with the last trade route closed, problems are approaching. Although it is only a planet of rock, Terminus has one thing that the other star systems lack, scientific knowledge. They alone still poses "atomic power." All of the other neighboring kingdoms must rely on coal and oil for their spaceships.

[Note: This bit of absurdity was unlike Asimov even at this young age. How he ever imagined a coal-fueled spaceship in beyond me –Ed]

Hardin knows that petty dictators only care about conquest and that Terminus is land for the taking. He is also aware that on the Fiftieth Anniversary of the founding of the Foundation, Hari Seldon’s vault will open and he will give a recorded speech (this is the first time that Seldon is mentioned in the published series). At this point in the series, Seldon is referred to as, "the greatest psychologist of our time," and father of the Foundation. Psychohistory is not yet mentioned in the series.

Hardin must find a way to take control of the Foundation from the "Board of Trustees," and stop Terminus from becoming a slave planet for every new leader that comes their way.

The closing scene of the story is in the "Vault of Hari Seldon." It is here, before Hardin and the rest of the Board, that Seldon reveals the true purpose of the Foundation. That the Encyclopedia is a fraud used to obtain an Imperial Charter and the people needed for the Foundation’s true purpose. Seldon then states the poor condition that the Foundation is in, and that this is only the first of a number of crises that he has foreseen in the future. He also refers to the “other Foundation” at the other end of the galaxy. Seldon does not solve the crisis. That is a job for the men in the room. Seldon merely lets them know that they are part of a larger plan to save the galaxy. Only Salvor Hardin sees the solution to the current crisis. To him, it is "obvious as Hell!" And with that, the first story ends.

Asimov was clever to end the story that way. To most readers, the solution is not so obvious and a second story, with the solution, would surely be called for. Asimov insured another story would be bought.

The third story in the book, and the second one published in Astounding is called "The Mayors" (Originally called "Bridle & Saddle" when published in June of 1942). It starts thirty years after the last story on the Foundation home world Terminus. Salvor Hardin is the mayor of Terminus and some background is given to help any reader who missed the last story (sort of a "Previously, on Foundation").

The crisis, or "Seldon Crisis" as they would become known, has passed and the Foundation is now prized more as a source of technology than of conquest. Each of the surrounding kingdoms wants to ensure that Terminus is free to trade with all, and not the sole domain of any one group. Hardin is thirty yeas older and now having to contend with the next generation of power seekers, both at home and across the spaceways. His "appeasement" policy has begun to end its usefulness and he sees another "Seldon Crisis" on the immediate horizon. Unlike most politicians thought, Hardin has been preparing for this day and has been quietly working to solve the crisis before it happens.

The story ends with the crisis being solved, this time in a way that is easy for any reader to understand, and with all of the principals converged in the Seldon Vault. Here they learn that Seldon predicted this problem and the solution Hardin chose. Seldon also reminds all those assembled that this is only a temporary solution and that more troubles await. This sets the stage for future stories.

Now bear with me for a moment because, for some reason, things become slightly confusing.

The next story, in the book Foundation, is called "The Traders." It was originally the fourth book, published in Astounding, under the name "The Wedge," in October of 1944. However, for some reason I have yet to discover, it is placed before "The Merchant Princes," which in reality was the third story printed.

"The Traders" is the shortest of the Foundation stories and is separate from the plot line established in the previous stories. It is more set in the Foundation universe than a Foundation story.

The traders are Foundation members who troll the rim of the galaxy looking for worlds who wish to buy their atomic goods. The last Seldon Crisis has lead to a consolidation of power within the four kingdoms under the Foundation. While this has added to the security of the Foundation, it has made outside star systems leery of dealing with potential conquerors. On one such world, Askone, a trader has been arrested and it is up to Master Trader Limmer Ponyets to save him and open the hostile world to Foundation goods and influence. Ponyets plays politics with a young councilman who dreams of better things. The Foundation Trader literally turns iron to gold and offers the secret to the ambitious keepers of the local faith, in exchange for the arrested trader, and all of the iron, copper, zinc, and other base metals his ship can carry. This is what Foundation traders trade for. Atomic goods for base metals for the resource poor Terminus.

This is a fun story dealing with the high cost of political ambition. It has no "Seldon Crisis," and no pivotal play in the Foundation Saga. However, it does expand the daily lives of the Foundation, and the problems they encounter in their quest to tame the galaxy.

The final story in Foundation was, now follow me here, the third, not last, story written. Originally called "The Big and Little," it was published in Astounding in July of 1944. For the book, the title was changed to "The Merchant Princes."

By the time this story was written, enough time had elapsed that explanations of the past stories had to be included. The characters are forced to say things like, "You’ve never heard of a Seldon Crisis?" They then explain about the last two crises and how these events have lead to the current situation.

The situation is that seventy-five years have passed since the time of "The Mayors," and the Foundation is now the strongest power outside of the old Empire. The Empire is falling, but it is still around and controls the richest, most densely populated, third of the galaxy. They are aware of the Foundation and are using various ways to keep it in check.

Foundation ships, the most powerful in the area, are disappearing without a trace. Since the Foundation must maintain the guise of supreme power, anyone who can challenge their ships is a threat to the whole Seldon Plan. Huber Malloy, a Master Trader, must go to the Korellian Republic to solve the mystery of the missing ships.

This is the longest of the Foundation stories and contains many elements of the rest of the book. There is politics, intrigue, danger, and a very well written courtroom scene where our hero must explain why he threw a priest to a mad crowd and gave Foundation technology to a potential adversary. The final solution is an economic one and Seldon does not make an appearance. The future is then speculated upon, but that is for the next book.

And with that, Foundation comes to a close.

These are entertaining and well-written stories and are a timely look at power, politics, and the role of economics in the affairs of man. Asimov was in his early twenties when he wrote them yet demonstrated a political wisdom he claims he never had. They have stood the test of time and should be required reading in any political science or humanities, curriculum. They are also an enjoyable read.

Side Note;  Ace published their own version of Foundation as a Double novel, along with "No World of their Own," by Poul Anderson.  They called it "The 1,000-Year Plan," and is an abridged version.  Still, it is interesting for collectors such as myself. 

No Dogs Allowed

Well, it looks like another one of my favorite Blogs has posted the "No Dogs allowed" sign at its portal door.

It seems more and more Blogs, once open to those who like to read, are becoming "for private members only."

You know the type. You log on today and you are stopped at the Blogger.com door saying you have to be invited to continue, but not allowing you to email the blog owner to see if you ARE on the list.

"It doesn't look like you have been invited to read this blog. If you think this is a mistake, you might want to contact the blog author and request an invitation."

I am all for exclusivity is some things, but if you are going to shut your doors at least give your public a chance to continue following you. Leave a message where you can meekly knock on the door. Who knows, I may be a valued client.

The wild wild west days of the Internet are gone.

Podcasts - The Spawn of the Devil?

Let me start by saying this is not the cranky rant of fan who was up all night and on her third cup of Joe.

I have been listening to podcasts lately.

Different subjects, different sites. Some on my favorite boards, others on sites of various interests.

All I can say is, "Has anyone ever been to Open Mike night at a local comedy club"?

I use to go to them quite often, in my college youth, hoping to see the next big comedy sensation. I longed to be able to say, "I knew him/her when . . ."

As the months rolled by I became educated in the square log principle. That for every good talent X there was a square log of talentless, drunken, "frat hounds" who though aptitude was accentuated by booze.

They were at least funny while drunk. There was a whole host of other participants who were not funny at all, or worse, knew THEY had talent and it was YOU who did not get how talented they were.

After a while I gave up on finding the "next big thing" and left that up to the talent scouts who were getting paid to endure such material.

"What," you may be asking at this point, "does this have to do with podcasts Lacey?"

Glad you asked.

In the beginning there was the Internet (invented by Al Gore I believe). Then came communities sites and Blogs, like this fine example. And then came file sharing.

Information flowed out of the source and into our homes. Bad shows were replaced by better ones, and information was corrected and disseminated. All was good.

Then came podcasts. In the beginning this was OK because they were generally handled by professional people who had experience in broadcasting. They knew how to speak and write and produce a product for sale. One people would want to listen to.

Now, it seems, we are back to open mike night at the comedy club.
Podcast hosts, drawn in by the lure of a microphone, seem to think that a $29 purchase at Best Buy imbibes them with talent, wit, charm, and the ability to captivate their listeners. Just like three boilermakers gives you comedic talent.

Hosting their favorite subjects they flip on the switch and in their everyday, monotonous, voice rattle off five to ten minutes of disjointed information BEFORE starting the program you went to the podcast for. They will throw in personal information, unrelated to the topic, pause for five to ten seconds to collect their thoughts, use "um" and "like" as if they were proper parts of speech, and then prattle on some more as if they had to fill time before the network feed kicked in.

It reminds me of when I was young and got my first tape recorder. I was so enamored with my voice that I spent the whole weekend talking into the microphone and playing it back. My father, being the good father that he is, sat through more homemade productions than a good man should. I don't think he has ever really forgiven me.

If you are going to host a podcast, and please folks, if you have something to say, please do, understand that the microphone does not give you talent. That there is no such thing as "natural ability" and that, like any form of entertainment, you need to work at it, and spit and polish it, before it is ready to go on the road.

Write a script. If you are one of those lucky people who can work from and outline, then make an outline. Then practice your introduction several times before you record it.

Do your audience a favor and have respect for them.
If you do, then they will have respect for you and your podcast will be a success, and not the source of rants on OTR websites.