Isaac Asimov: The Foundations of Science Fiction (Revised Edition) (48 page)
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Trevise confirms his choice of Galaxia on the basis of his discovery of a third and unstated axiom on which Seldon's Plan was based: there are other galaxies that may contain other, alien intelligences, and the human Galaxy must be united as one in order not to be fighting among its various parts when aliens from other galaxies invade. And Daneel will gain three or four more centuries of existence to bring Galaxia into being by merging his mind with that of the hermaphroditic Solarian child, Fallom.
Foundation and Earth
was Asimov's
Odyssey,
with Trevise and his crew experiencing the mysteries of the Galaxy and escaping its perils as they try to return (to the ancestral human) home, and Daneel as Penelope. Daneel has no suitors, of course (unless the leaders of the First and Second Foundation, already rejected, can be considered for that role), and the fanciful parallel breaks down in other ways. The novel, divided into seven parts for each of the seven worlds they visit, is as episodic as the
Odyssey,
however, and attempts the same epic cultural justification, in this case the humanization of the Galaxy. In it we can see laid out all the science-fiction virtues: intelligence, cooperation, problem-solving, and concern for future generations and humanity itself, as it fulfills Jack Williamson's definition of space opera: "the expression of a mythic theme of human expansion against an unknown and commonly hostile frontier."
was Asimov's
Odyssey,
with Trevise and his crew experiencing the mysteries of the Galaxy and escaping its perils as they try to return (to the ancestral human) home, and Daneel as Penelope. Daneel has no suitors, of course (unless the leaders of the First and Second Foundation, already rejected, can be considered for that role), and the fanciful parallel breaks down in other ways. The novel, divided into seven parts for each of the seven worlds they visit, is as episodic as the
Odyssey,
however, and attempts the same epic cultural justification, in this case the humanization of the Galaxy. In it we can see laid out all the science-fiction virtues: intelligence, cooperation, problem-solving, and concern for future generations and humanity itself, as it fulfills Jack Williamson's definition of space opera: "the expression of a mythic theme of human expansion against an unknown and commonly hostile frontier."
The novel is not a major addition to the Asimov canon, but it fulfills its major purpose of answering most of the questions that Asimov readers have accumulated about the Foundation universe, and it ends with an appropriately grand climax, the expansion of the human struggle beyond the Galaxy into the universe. Perhaps this was "the loose and untied matter" that Asimov had left in case he wanted to return, to write his
Iliad,
or it may have been the existence of Fallom, whose unfathomable eyes were resting on Trevise as he said, "It is not as if we had the enemy already here and among us." But five years later,
Asimov wrote in his memoir, he still "had no idea how those complications could be handled." He never did.
Iliad,
or it may have been the existence of Fallom, whose unfathomable eyes were resting on Trevise as he said, "It is not as if we had the enemy already here and among us." But five years later,
Asimov wrote in his memoir, he still "had no idea how those complications could be handled." He never did.
Between the completion of
Robots and Empire
and the start of
Foundation and Earth,
Asimov contracted with the William Morris Literary Agency to write
Fantastic Voyage II,
in anticipation that it would become a motion picture. Like
Fantastic Voyage,
it would deal with the use of miniaturized vessels in the human bloodstream. But that project foundered over his stipulation that Doubleday have an opportunity to bid on its publication and then over his reluctance to proceed when Doubleday executives objected. The Agency turned to Philip José Farmer as a replacement, but didn't like his manuscript, although Asimov found it "terrific" and faithful to the Agency outline.
Robots and Empire
and the start of
Foundation and Earth,
Asimov contracted with the William Morris Literary Agency to write
Fantastic Voyage II,
in anticipation that it would become a motion picture. Like
Fantastic Voyage,
it would deal with the use of miniaturized vessels in the human bloodstream. But that project foundered over his stipulation that Doubleday have an opportunity to bid on its publication and then over his reluctance to proceed when Doubleday executives objected. The Agency turned to Philip José Farmer as a replacement, but didn't like his manuscript, although Asimov found it "terrific" and faithful to the Agency outline.
In part because of his reluctance to continue with the Foundation future, Asimov finally agreed to write the novel, which brought cooperating Russians and Americans together on one vessel, after the Agency agreed to pay Farmer for an accepted novel and to allow Doubleday to publish Asimov's novel. The novel was published in 1987. Asimov didn't think it did as well because of the Russian-American cooperation (in spite of its prescience). As Asimov had anticipated, the movie was never made.
Asimov liked to analyze his actions and trace his ideas to their origins. His next novel, he wrote in his memoir, came about when a young man riding in his apartment elevator commented that he had always wanted to know what had happened to Hari Seldon and how he had come to invent psychohistory. For two of his last three books Asimov would devote himself to those discoveries.
The first was
Prelude to Foundation,
which he began on February 12, 1987 and completed nine months later. It was published later that year. The novel begins fifty years before the events narrated in the first chapter of
The Foundation Trilogy
and traces the beginnings of psychohistory as Hari Seldon announces it as a theoretical possibility in a paper read at the Decennial Convention of mathematicians on Trantor, his first visit there from his obscure home planet of Helicon.
Prelude to Foundation,
which he began on February 12, 1987 and completed nine months later. It was published later that year. The novel begins fifty years before the events narrated in the first chapter of
The Foundation Trilogy
and traces the beginnings of psychohistory as Hari Seldon announces it as a theoretical possibility in a paper read at the Decennial Convention of mathematicians on Trantor, his first visit there from his obscure home planet of Helicon.
The Empire's First Minister, Eto Demerzel (another example of Asimov's belief that power lies behind the throne), encourages the Emperor, Cleon I, to meet with Seldon to explore the possibility of perfecting psychohistory into a practical discipline. Seldon, outlining all the difficulties, thinks the task is impossible and wants to return home. But he is prevented from doing so by an attack by two young hoodlums.
Although Seldon is an expert in a variety of martial art called ''twisting," he also is aided by a nearby stranger who introduces himself as journalist Chetter Hummin and warns him about Demerzel, who he thinks is behind the attack. He also urges Seldon to conceal himself on Trantor from Demerzel and the Emperor's efforts to get control of psychohistory, while Seldon himself gathers information on whether it can indeed be developed into a predictive science, which Hummin says is desperately needed to prevent the Galaxy from plunging into millennia of anarchy after the fall of the Empire, whose decay can be seen everywhere.
Seldon begins a flight through Trantor that takes him through a representative sample of its diverse 800 sectors as he searches for a way to simplify the psychohistorical picture. The first stop is in Streeling, where Seldon is placed in its famous university and assigned to the care of a historian, Dors Vanabili. In a trip to the outside of Trantor's metal skin to compare the problems of weather prediction to the complexities of psychohistory, Seldon feels he is being pursued by an airship and almost freezes to death before he is rescued by the redoubtable Dors.
Pursuing the notion that the sector called Mycogen was settled by the descendants of an ancient planet (Aurora) who may have useful legends and records of a single planet of origin, Seldon and Dors are sent to Mycogen by Hummin. The sector is known for its delicious fungi and other food, and also for its conservative customs, which include religious rites centered around the people's Lost World and the permanent depilation of hair. Seldon and Dors make their way into a central temple called the Sacratorium to find out whether the Mycogenians have a working robot there. They discover a robot, but one long inactive, and are in turn discovered by the religious leader, Sunmaster Fourteen, who had met them originally and welcomed them, as friends of Hummin, to Mycogen. Sunmaster plans to execute them or hand them over to the Emperor, but Hummin arrives and talks the religious leader into releasing them to him, by suggesting the possibility that psychohistory might restore their Lost World.
The next stop is at Dahl, noted for its heat sinks (which tap the planet's magma), and there Seldon pursues other legends about the single planet from which humanity may have expanded. He is helped by a heatsinker named Yugo Amaryl, who hopes to become a mathematician (and later becomes Seldon's chief assistant in the development of psychohistory), and a street urchin named Raych (who later becomes Seldon's adopted son and protector). Seldon learns more of the legends of Earth from ancient Mother Rittah, who tells them of the great hero
Bah-Lee and his helpful robot friend Da-Nee, but Seldon gets into difficulties with the social prejudices of the Dahlites from whom he and Dors rent a room, and then are abducted, along with Raych, to the sector of Wye, at the south pole.
Bah-Lee and his helpful robot friend Da-Nee, but Seldon gets into difficulties with the social prejudices of the Dahlites from whom he and Dors rent a room, and then are abducted, along with Raych, to the sector of Wye, at the south pole.
At Wye, whose Mayor had ancestors that once ruled briefly as undistinguished Emperors, the Mayoress has plans to launch her well prepared troops in a coup against the Empire. She doesn't care about the outlying worlds; she is content with Trantor and the nearby worlds. But Demerzel attacks pre-emptively and destroys the threat to the Empire.
Demerzel turns out to be Hummin, and in a scene reminiscent of Arthurian legend and "the once and future king," as well as the scene in
Lost Horizon
in which Hugh Conway tells the High Lama that he must be the ancient Father Perrault, Seldon tells Demerzel that he is a robot. Demerzel confesses that he is indeed a robot and, moreover, the ancient robot Daneel, and has been guiding human development since he inherited Giskard's abilities and responsibilities. But he needs the help of psychohistory, which Seldon now realizes that he can develop by studying a single world, the world of Trantor. But he must have the emotional help of Dors. She also may be a humaniform robot, but Seldon does not care.
Lost Horizon
in which Hugh Conway tells the High Lama that he must be the ancient Father Perrault, Seldon tells Demerzel that he is a robot. Demerzel confesses that he is indeed a robot and, moreover, the ancient robot Daneel, and has been guiding human development since he inherited Giskard's abilities and responsibilities. But he needs the help of psychohistory, which Seldon now realizes that he can develop by studying a single world, the world of Trantor. But he must have the emotional help of Dors. She also may be a humaniform robot, but Seldon does not care.
Prelude to Foundation
solidifies the foundation of Asimov's universe in a number of ways. It satisfies the desires of Asimov's elevator companion for more about Hari Seldon and the development of psychohistory, and for an exploration of Trantor, which stands with Larry Niven's ringworld as one of the great artifacts of science-fiction history. More importantly, in light of Asimov's body of work, it transforms the magic of psychohistory into something more credible as a science.
solidifies the foundation of Asimov's universe in a number of ways. It satisfies the desires of Asimov's elevator companion for more about Hari Seldon and the development of psychohistory, and for an exploration of Trantor, which stands with Larry Niven's ringworld as one of the great artifacts of science-fiction history. More importantly, in light of Asimov's body of work, it transforms the magic of psychohistory into something more credible as a science.
The novel (and its sequel,
Forward the Foundation
) allowed Asimov to rethink the psychohistory question and address the questions that might legitimately be raised against it. One strategy Asimov used was Seldon's own skepticism, which not only allowed Seldon to consider the question in detail but to disarm psychohistory's critics. The novel offers a series of restatements and definitions, such as the moment when Seldon is trying to describe psychohistory to Cleon I and to lay out the reasons why it could not become practicable.
Forward the Foundation
) allowed Asimov to rethink the psychohistory question and address the questions that might legitimately be raised against it. One strategy Asimov used was Seldon's own skepticism, which not only allowed Seldon to consider the question in detail but to disarm psychohistory's critics. The novel offers a series of restatements and definitions, such as the moment when Seldon is trying to describe psychohistory to Cleon I and to lay out the reasons why it could not become practicable.
"In many systems, the situation is such that under some conditions chaotic events take place. That means that, given a particularly starting point, it is impossible to predict outcomes. . . . It has always been assumed that anything as complicated as human society would quickly become chaotic
and, therefore, unpredictable. What I have done, however, is to show that, in studying human society, it is possible to choose a starting point and to make appropriate assumptions that will suppress the chaos. That will make it possible to predict the future, not in full detail, of course, but in broad sweeps; not with certainty, but with calculable probabilities."
and, therefore, unpredictable. What I have done, however, is to show that, in studying human society, it is possible to choose a starting point and to make appropriate assumptions that will suppress the chaos. That will make it possible to predict the future, not in full detail, of course, but in broad sweeps; not with certainty, but with calculable probabilities."
Seldon then compares the problem of psychohistory with the way in which scientists deal with subatomic particles, complicated by the added factor of the human mind. His mathematical analysis implies that order must underlie everything but does not give any hint as to how this order might be found, and he refers to twenty-five million worlds, each having a billion or more inhabitants.
Seldon later explains to Dors that his field of specialization is the mathematical analysis of social structure, and that psychohistory should have been called "psychsociology," but he justifies his choice with the comment that the second term was "too ugly a word" and he may have known, instinctively, that a knowledge of history was necessary. As they are setting out for Mycogen, Seldon describes the situation of psychohistory to Hummin and Dors, beginning with the problems of simulating complex phenomena: "the Universe as a whole, in its
full
complexity, cannot be represented by any simulation smaller than itself. . . . But at what level of complexity does simulation cease to be possible. Well, what I have shown, making use of a mathematical technique first invented in this past century . . . our Galactic society falls short of that mark. It
can
be represented by a simulation simpler than itself."
full
complexity, cannot be represented by any simulation smaller than itself. . . . But at what level of complexity does simulation cease to be possible. Well, what I have shown, making use of a mathematical technique first invented in this past century . . . our Galactic society falls short of that mark. It
can
be represented by a simulation simpler than itself."
In rescuing Seldon and Dors from Sunmaster Fourteen, Hummin defines psychohistory as "the possibility of organizing the natural laws of society . . . in such a way as to make it possible to anticipate the future with a substantial degree of probability." And in Dahl, Seldon tells Dors that he developed psychohistory from his Ph.D. problem, the mathematics of turbulence; and later in Dahl he tells a newsman that "What I have done is to prove that it is possible to choose starting conditions from which historical forecasting does not descend into chaotic conditions, but can become predictable within limits. However, what those starting conditions might be I do not know, nor am I sure that those conditions can be found by any one person or by any number of people in a finite length of time."
By the end of
Prelude
. . . Seldon has moved from complete skepticism about the practicability of psychohistory to a belief in its possibility, as a result of his quest through Trantor. He can learn from the study of a
single world, Trantor, methods he can apply to the Galaxy. Even his continued work on something he considers almost impossible can be rationalized by Daneel's ability to influence his emotions. At the end Daneel promises Seldon a staff, computers, reference materials, and time. And if the time comes when Seldon can set up a device that might keep the worst from happening, Daneel urges him to think of two devices, so that if one fails, the other will carry on, and says that he himself has a second plan in case psychohistory fails. Thus Daneel (and Asimov) lay the groundwork not only for the Second Foundation but Gaia and Galaxia.
Prelude
. . . Seldon has moved from complete skepticism about the practicability of psychohistory to a belief in its possibility, as a result of his quest through Trantor. He can learn from the study of a
single world, Trantor, methods he can apply to the Galaxy. Even his continued work on something he considers almost impossible can be rationalized by Daneel's ability to influence his emotions. At the end Daneel promises Seldon a staff, computers, reference materials, and time. And if the time comes when Seldon can set up a device that might keep the worst from happening, Daneel urges him to think of two devices, so that if one fails, the other will carry on, and says that he himself has a second plan in case psychohistory fails. Thus Daneel (and Asimov) lay the groundwork not only for the Second Foundation but Gaia and Galaxia.
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