Isaac Asimov

In the seventies Asimov was the writer that all Spanish publishers wanted to publish, or so it seemed. Bruguera, Plaza & Janes, Alianza Editorial, Vertex, Edhasa ... Bruguera was the one who took the cat to water, at least in regard to his work of science fiction, closely followed, surely, for Alliance, not took to specialize in their popular books.

Thus, during that decade, Asimov was an author who seemed to be everywhere in the Spanish libraries. And in the eighties, this trend appeared to decrease. It was the science fiction writer who published that publishers do not even have the slightest interest in publishing science fiction. And it was the science fiction writer known even by readers who did not have the slightest interest in reading science fiction.

For over twenty years in Spain Asimov was synonymous with science fiction. Insurance genre fans who saw him otherwise (although I think a bit, how many were started in science fiction by Asimov's work in the sixties, seventies and much of the eighties?), But in the wide world that lies beyond the fandom, things were otherwise. If a layman in case you'd say science fiction, had a good chance that their reaction was "Isaac Asimov" or, if it was a little more to the parrot, "Isaac Asimov and Arthur C. Clarke. "

Time passed and soon the situation to reverse. Reversal that began in the mid-eighties and that helped, no doubt, questionable quality and little to Asimov's novels published from those years.

And, as the Spanish tend to be creatures of extremes, Asimov did not take long to go from being the author of science fiction, the man who by his mere presence defined the genre, a literary void whose importance for the development of CF had been all but irrelevant. And that was not enough. No it was not enough, there was also that hate him, as if we had done something personal.

Because the arguments that were used to revile Asimov ranging from the purely literary (which would make sense, no doubt) to direct pilgrims. Refute its importance as a writer focusing on his shortcomings as a writer was a defensible and arguable position, but deny the bread and salt with the reasoning that the "preponderance public" to call it had somehow obscured the authors really relevant was so stupid and pointless. As if Asimov was responsible for the publishers (and we also assume that readers, because I can not believe that an employer will pull twenty years selling a product that the public not to buy) publish it again and again, or more popular beyond gender would be the product of a conspiracy on his part to any others.

If the editors considered a safe bet to Asimov and preferred to publish it to him rather than try his luck with others ... Asimov's fault was it? Need I really ask that question?

I confess that right now I'm not sure what Asimov status among fans of the genre. If we had a minimally logical behavior would have reached the place he really belongs: a figure of undeniable historical value for understanding the evolution of science fiction and a competent writer with interesting work and a remarkable milestone. Neither giant that some worship or the nullity others wanted to see, anyway.

Although I suspect that we have a minimally logical behavior and Spanish fans continue to oscillate between these two foci, adoration and contempt.

Fan, finally, after all, comes from fanatic, do not forget. In fact, for many years there has been a few people with some intellectual relevance-favorite of fans, who have insisted that we should forget.

As never insisted, however, was the obvious fact that so many fans among the sector more nerdy of science fiction fans as the most gafapasta. But that is another story, I fear, and I'm not even sure it told another time.

Is it really "Nightfall" the best science fiction story of all time? Is it the best story that Asimov has written?

I think not, in either case.

No doubt the idea of departure is brilliant. The story is securely locked and convincingly developed. The characters are believable.

But "Evening" is a perfect example of what made the Golden Age of Science Fiction whatever it was. For better and for worse.

The problem is that Asimov story still can not write without completely getting rid of the worst mannerisms of the pulp, which has not yet gotten rid of a bunch of cliches, not so much in what it tells us in the way of telling.

The result is that we have, as I said, a brilliant idea, full of speculation that "sense of wonder" that should be good science fiction. But the execution of the idea does not do justice, not its height.

Entendedme well, not a bad story. Asimov is learning how to tell a story it really dizzying speeds (can not believe it, just a year before was capable of perpetrating "The threat of Calixto" or "too terrible weapon to be used") and moves closer to maturity at a frightening pace. From being an awkward but promising newcomer has happened in just over a year to be one type to consider.

And, indeed, of all the stories he had written until then, "Dusk" is the best and take some time to get back to its height. The story is good for the idea that sustains it and the way that little by little, in an almost masterful, the author is putting the various narrative pieces on the board and then you move to the inevitable conclusion.

The narrative structure of "Nightfall" has nothing objectionable. In fact, the story itself has nothing objectionable.

Save your style, that have not kept pace.

Have written this same story a few years later (just a few more, maybe just after the Second World War) would almost certainly one of the great stories of CF of all time and, very probably the best story Asimov.

However, it is not.

But "Evening" is important for other reasons.

As I said, marks a turning point in Asimov's literary career: it is the first time you attach the cover (ie, the cover illustration is dedicated to his story) and is the first time you pay above usual rate. No doubt Campbell was pleased with the result. Especially because, to some extent, Asimov had raised him as a professional writer, so I see it happen in just over a year of a promising young man a guy can write a story like that really filled him with pride.

So somehow, "Nightfall" is the final year project of Asimov. Since then no longer a student but a professional. Not in the sense that they earn a living writing, it is still a few years in the future, but for beginning to address his literary activity from a professional perspective and addresses writing as a profession and not just a hobby can provide extra income.

I think from that point eventually become a professional writer, someone who lived solely on what he wrote, became for Asimov, a dream vaguely possible, an achievable goal.

No short-term, right. And, as a prudent man (the end of the day was raised in an environment of austerity, in the midst of the Great Depression, which marked its indelible character in a way), Asimov took longer to convince himself that the only thing needed to live (and live well) were some fees for his talent as a writer.

I do not think in any case, it was a revelation that Asimov saw his name on the cover of Astounding and said that at one time would be earning a living as a writer.

Surely it was something gradual. A long and leisurely full of certain milestones that assured him he was going in the right direction. "Nightfall" was one of those milestones, if not unique.

BIBLIOGRAGÍA:

• "Nightfall" (Nightfall). In Astounding Science-Fiction, September 1941. Most recent Spanish edition: Cuentos completos (B, 1992)

1941 will be a crucial year for Asimov. In a way, it's their time of coming of age as a writer of science fiction, the point where it ceases to be a moderately interesting newcomer becomes an author to be reckoned with. Yet reached their place in the pantheon as one of the Big Three, and still spend a few years before that happens, but it is no rookie to the test that looks suspiciously.

From 1941, Asimov is a writer established in the market for science fiction magazines.

He puts the turning point in the publication of his story "Nightfall", influenced largely because the story is that on more occasions and at different times, has been chosen as fan favorite. For Asimov then, however, is probably more important is the fact that it is due "Dusk" which is dedicated for the first time the cover illustration for the magazine and, above all, Campbell gives a bonus for this story and pays above the going rate then.

Apparently, 1941 is a year not much different from 1940, published eight stories, a figure nearly equal to the previous year across three or four different magazines.

But these eight tales, half are in the Campbell's Astounding, which for Asimov is a success. And no doubt that at the time Campbell is the most demanding editor who published science fiction, so it is significant that four of the eight stories that year asimovianas pass the filter campbelliano "successfully.

Otherwise an author still irregular. Stories like "Heritage," History "or" secret meaning "remain unexploded very well adjusted, too indebted to the pulp stereotypes and plots that do not stop working completely.

"Not as definitive" is a bit better, but the whole story seems oriented final twist is too simple. It is, again, a story-puzzle, a puzzle that is armed with the final pun and, in some ways, a mystery story. This is interesting and surprising resolution and ends the story properly, but the story is too reduced to a minimum so that the story is really interesting.

The other Asimov stories published that year, however, and are another thing.

With "Super Neutron," the young author goes a step further decided, and moderately successful in the way that would bring the stories of the cycle of the Black Widowers. The story is well plotted and the environment, in general, is achieved. Asimov is gradually raising the tension of the story (always relying on dialogue), and when it reaches the final outcome, it all fits together seamlessly. It is one of his best stories, but it is certainly an exercise in style rather than interesting and the narrative in "two layers" (a first-person narrator tells us what someone else has told him, that is the true story) works smoothly.

"Liar!" And "Reason" are two new additions to the stories of robots, and both stories are set most of the characteristics of such kind of stories but does not explicitly mention the three laws of robotics.

"Liar!" Is the first appearance of Susan Calvin, one of the most famous (and better built) Asimov's characters. The funny thing is that Calvin we see here is a little different than what appears in stories later: more fragile, less incisive and, above all, much closer to a feminine stereotype of the time than it will later. In fact, it seems clear that Asimov had in mind not keep writing stories with it: the setting for this story because the plot demands a person with these characteristics and will not be until some time later when you give human dimension.

On the other hand, "Liar!" Opens what will be a key feature of many of the stories of Asimov's robots: once established the three laws of robotics and how they act, must be put to test Somehow, both its limits and, eventually, to go further. In this case, the telepathic ability of the robot that appears in the story redefines the concept of "harm" for programming robotics and just putting the machine into a dead end.

More interesting is "Reason", which make their appearance Gregory Powell and Mike Donovan, faced with a robot that, by sheer force of reasoning, inferred the existence of God and what is its role in the universe, with the result that considers men a failed experiment of divinity, the first attempt to construct a rational creature, of course, culminates in the robots. It is a humorous story pretty well been lower than that is a conscious satire and a devastating both for religion and how that belief affects the perception of the universe.

With "Robbie", "Liar!" And "Reason", Asimov and could say with justification that had a set-up. All three stories share the stage with sufficient elements (apart from the obvious use of robots) to be considered part of a series and also know if by pure chance or deliberately, Asimov has created these first stories in a manner sufficiently open to be a series of indefinite duration. With the assumptions you have chosen, you can spend the rest of his life writing stories of robots (in a way it did, we might say) or leave them as the public grows weary of them, except that the series will suffer or become half. There is no argument that a bond and, therefore, is requesting a development or a conclusion: only elements of ambience and, of course, robots and how they are affected by the three laws of robotics.

At that time, such as Asimov himself recognizes in his heart Powell and Donovan were human protagonists of the series: the sympathetic and determined character, even a little folksy, created for the reader to empathize with them without problems, the choice seemed obvious. Walking from one side to another solar system to test new models of robots and solve problems that arise, it seemed they were destined to become one of the most successful creations Asimov.

We could say that the stories of Powell and Donovan are a clear case of "fan fiction". John W. Campbell Jr., before starting his work as director of Astounding and leave literature almost entirely, had written a few science fiction stories. The most memorable is probably, "Who's there?" Which is the origin of the film The Thing from Another World and its remake (The thing) at the hands of John Carpenter, much closer to the first original literary version.

Campbell had a fairly successful series whose protagonists, Penton and Blake, roamed the solar system to know different species on each planet and solving with wit tight situations. A lot Asimov liked the series when he was a young man who was limited to reading science fiction and, no doubt, their stories of Powell and Donovan are largely the work of a fan who is doing his own version of you so much liked.

In any case, soon be seen that Powell and Donovan would not be the main theme of the series of robots. They quickly become little more than a footnote on page (a vital note and pleasant way) and won the role find it almost without being aware of the Susan Calvin is destined to become one of the best characters asimovianos.

But he does not know anything about that. Of course, you do not know when they sit down to write a story titled "Dusk" and that starts from a premise that Campbell has thrown for the pickup.

What would the men if they could see the stars only once every thousand years? Asked the director of Astounding. It was a very common habit in him, half a dozen ideas ruminating and drop some of them to the first author to stop by his office at the offices of the magazine. On this occasion it was Asimov who passed through there.

And who said, almost without thinking: "I think it would go mad."

"Write a story about it," said Campbell.

And it was. The rest, as they say, is history.

REFERENCES:

• "History" (History). In Super Science Stories, March 1941. Most recent Spanish edition: The Golden Age I (Plaza & Janes, 1988).
• "The secret meaning" (The Secret Sense). In Cosmic Stories, March 1941. Most recent Spanish edition: The Golden Age I (Plaza & Janes, 1988).
• "Reason" (Reason). In Astounding Science-Fiction, April 1941. Most recent Spanish edition: The complete robot (Alamut, 2008).
• "Heritage" (Heredity). In Astonishing Stories, April 194. Most recent Spanish edition: The Golden Age I (Plaza & Janes, 1988).
• "Liar!" (Liar!). In Astounding Science-Fiction, May 1941. Most recent Spanish edition: The complete robot (Alamut, 2008).
• "Nightfall" (Nightfall). In Astounding Science-Fiction, September 1941. Most recent Spanish edition: Cuentos completos (B, 1992).
• "Super Neutron" (Super Neutron). In Astonishign Stories, September 1941. Most recent Spanish edition: The Golden Age I (Plaza & Janes, 1988).
• "Not as definitive" (Not Final!). In Astounding Science-Fiction, October 1941. Most recent Spanish edition: Cuentos completos II (B, 1993).

Throughout 1938 and 1939, Asimov had written a bunch of stories. Get published three of them in 39, as seen in the previous chapter. And with that, it opens a gap in the publishing market of the time.

That was not to shoot rockets. Although Asimov probably the shot. And who does not.

Finally, after all, had reason to be happy, even excited, just take a first step, and not inconsiderable: he had managed to publish so paid. He was on track to reach to become a professional writer. Surely, this idea was nothing but a crazy dream in the minds of very young Asimov, but it was a dream that there was no doubt, a goal that may be revealed as unachievable but that was not entirely preposterous.

So I kept writing, and kept trying to send their stories to various publications of the time. In mind had come back in the pages of Astounding, which was beginning to become the dominant magazine in that period, but that does not mean that, meanwhile, was idle.

In 1940 Asimov published seven stories. Which is not bad for a young newcomer whose first three published stories are not exactly wonderful. At best, promising and interesting ideas.

In fact, some of the stories published that year are not much better: "The threat of Calixto," which appears in the April issue of Astonishing Stories is a rehash of cliches of pulp, both in regard to characters and situations.

"A ring around the sun", which appeared a month earlier in Future Fiction, is a rather clumsy attempt to write humorous science fiction. The story is interesting because the main characters (two intrepid test pilots) are in some ways, the embryo of what would soon Powell and Donovan, the two testers of robots that will soon become the protagonists of many stories of Asimov. Moreover, the story is of little interest.

In "The magnificent possession" then try to write a humorous story. Unfortunately, the result is nothing but a joke stretched too easy.

In "Mestizos" the young Asimov first introduced a love story. The result? Do not say that disastrous, but certainly credible as little conversation as they sought to bar environment "Big Game." And for the same reason.

Asimov almost completely devoid of emotional experience. So when you have to describe a love story take hold of what he knows: Unfortunately, what is known pulp literature, and romance that you enter in "Mestizo" refers back to his worst moments. If we add a narrative premise not without interest in the ideological, especially because of its obvious anti-racism, but developed in a rather obvious and lacking in subtlety, it is easy to conclude that this story is not one of the peaks of the narrative asimoviana.

The result of its sequel, "Mestizos on Venus" is not much better. In fact, we could say without fear of error is even worse. With the same clichés of the first story and the same awkward to describe relationships, this story is only interesting because it was Asimov's first attempt to write a series.

Attempt failed, obviously. But the momentum was there. It was an impulse, on the other hand, with an economic motivation creative or artistic. The series of stories, if they were well received by the public, could become a way of ensuring the continued publication of material in the same journal. Since neither "Mestizos" or "mestizos on Venus" had a very resounding welcome by readers (and taking into account that the director of Astonishing half reluctantly accepted his continuation of the first story) Asimov quickly abandoned that attempt.

Not so the idea of writing a series, a group of stories that shared a common scenario. In fact, the same year, 1940 would get published the first story of what would be one of its most successful series.

Another story of that year, "Homo Sol" (with returning to the pages of Astounding), is also part of a series, but as a series is rather meager, and that eventually composed of only three stories.

It is one of the few stories where there are several species asimovianos intelligent humanoid-all, yes, they share the galaxy. The story is tailor-made, as Asimov himself acknowledges, to John W. Campbell, director of Astounding: starting with the highly advanced galactic federation is looking over her shoulder at an Earth less developed than them, and followed by some earthlings whose wit and arrogance overrides any evidence, just outstripping other species in appearance " superiors. " One of the usual clichés of pulp science fiction and that Campbell liked to use regularly (and that "their" authors use too): humanity ends up giving him soup with waves more advanced species by the ingenuity and spirit of human improvement.

A racist stereotype, in fact, which Asimov was well aware (when Campbell said "humanity" was probably saying "man of Anglo-Saxon origin", to begin, and who knows what would have in mind when thinking of the advanced extraterrestrial civilizations) and that in time he would feel increasingly uncomfortable.

It is this discomfort which led him to develop something that, in time became one of its most characteristic features: a fully human galactic civilization. Some critics of the time saw it as an original feature, others, however, criticized it as a lack of imagination.

Neither one nor the other, really. In Asimov each time he would give more compromise with racism Campbell. At the same time maintained a good relationship (both professionally and personally) with the editor of Astounding and the young writer does not want to spoil either.

The only way to maintain friendship with Campbell, continue to publish in his magazine and at the same time not betraying himself ideologically was to remove the conflict: If there was only one intelligent species in the galaxy, the problem ceased to exist. (A personality trait of Asimov that would keep throughout his life: the flight of the conflict. Something that, in more than one occasion, I would bill.)

Easy and making a joke of questionable taste, we might say that Asimov committed genocide on a galactic scale to avoid a clash with Campbell. And somehow, David Brin, Greg Bear (the less said about Gregory Benford and his role in the affair, the better) must have thought something similar. When writing their respective books of the new Foundation Trilogy, mention colonizing robotic craft whose aim is to cleanse the galaxy of non-human intelligences for man, when spread on it, is the only one.

Going back to "Homo Sol" is a story far more consistent than the other published in 1940. And what continues to be curious, much less the heir of the tradition they pulp. It is true that the aforementioned cliché is present throughout the story, but the fact remains that the story is carried in a credible way, with a steady hand and a more than acceptable handling of the plot.

On the other hand, is the first time mentions Asimov psychology as a discipline governed by a set of mathematical laws, there is no doubt that we are seeing the beginnings of what will shortly become the psychohistory.

"Homo Sol" is probably the best story that Asimov published that year. It is still, in many ways a first-story, but we will see him as a show writer, far more sure of itself and its possibilities and begins to uncover the full potential within.

Much of the story is carried through dialogue between different characters. Something that quickly transformed into one of the main features of Asimov as narrator dialogue not only advances the action, but provides important information about characters and situations and even serves to create atmosphere and the mood the plot.

And I've left for last what would be the first story written by Asimov robot: "Robbie." Asimov tried to present it to Campbell, but he refused (and his friend Fred Pohl, as he had done on other occasions, previously explained why the editor of Astounding not going to accept) and expiring appearing under the title "Strange Playfellow" (Stranger playmate) in another of the magazines he had at the time.

Although throughout history does not explicitly mention the famous three laws of robotics (it is possible that at that time were not yet formulated in a precise and detailed manner), the behavior of artificial self nanny who fits them . No doubt his presentation of the robot as a simple piece of machinery, operated by a program that dictates their behavior and therefore away from the two clichés prevailing at the time of the treatment of robots (which describes itself as Asimov the robot as a threat "and" the robot as pathos "), is quite original and opens (without knowing at that time and probably unintentionally) a fairly radical shift in the kinds of stories. Over time, other stories of Asimov would be responsible for leading the shift, but in the meantime "Robbie" is not a bad letter.

True, the story has a clear downturn in the mid-paced and too sentimental at times (does not reach down as corny, but slashing). But the credit has elements that far outweigh its shortcomings.

Not only the relationship between the girl and her robot nanny is brilliantly described, but throughout the entire narrative is a distant and almost imperceptible irony that gives the story a force to a more emotional, more "involved" emotionally would not have succeeded. The family presented to us in the story, moreover, is curiously dysfunctional in more ways than one, and indeed, the portrait that traces of a middle-class American family goes to the caricature more than a moment.

Although Asimov was not aware of it, is adding to its form of narrative elements from PG Woodhouse, the comedian of the early twentieth century. Gradually, these elements would be more visible in his writing and in some cases, to write stories Asimov would totally "woodhousianos."

But that would be in the future.

Meanwhile, the balance of this year 1940 is very positive for the young author. Not only has he managed to publish seven stories, which is not bad, but two of them are good enough to attract the attention of readers and, perhaps, into thinking that the guy from the Russian name may be someone whose career worthwhile to continue.

Meanwhile, continued writing. And in the process of writing, send the material for publication, rejection, corrections, see your story published and compare it with what other publishers, has been learning. On the fly, without stopping to think too much about what you do: leaving it to the very process that will teach you what works and what does not.

Learning to swim as anything, you might say.

REFERENCES:

• "Mestizos" (Half-Breed). In Astonishing Stories, February 1940. Most recent Spanish edition: The Golden Age I (Plaza & Janes, 1988).
• "A ring around the sun" (Ring Around the Sun). In Future Fiction, March 1940. Most recent Spanish edition: The Golden Age I (Plaza & Janes, 1988).
• "The threat of Callisto" (The Callista Menace). In Astonishing Stories, April 1940. Most recent Spanish edition: The Golden Age I (Plaza & Janes, 1988).
• "The magnificent possession" (The Magnificent Possession). At Future Fiction, April 1940. Most recent Spanish edition: The Golden Age I (Plaza & Janes, 1988).
• "Homo Sun" (Homo Sol). In Astounding Science-Fiction, September 1940. Most recent Spanish edition: The Golden Age I (Plaza & Janes, 1988).
• "Robbie" (Robbie). In Super Science Stories, September 1940. Most recent Spanish edition: The complete robot (Alamut, 2008). It is noteworthy that the story was modified for inclusion in I, Robot. Asimov not only added a prologue, an epilogue and several fragments that wove tales, and focused on the figure of Susan Calvin, but tweaked some of the stories to fit better in the book. I, Robot is a narrative logic own, which makes it interesting and coherent book rather than as simple amalgam of stories. Its most popular Spanish edition remains the Edhasa.
• "Mestizos on Venus" (Half-Breeds on Venus). In Astonishing Stories, December 1940. Most recent Spanish edition: The Golden Age I (Plaza & Janes, 1988).