Foundation's Fear ( Second Foundation Trilogy #1)

Foundation's Fear ( Second Foundation Trilogy #1) Page 76

 Bear, Brin, and I have kept in close touch while I wrote this first volume, for we intend to create three stand-alone novels which nonetheless carry forward an overarching mystery to its end. Ele­ ments of this make their first appearance here, to amplify further through Greg Bear’s Foundation and Chaos, finding completion in Brin’s Third Foundation. (These are preliminary titles.) I have planted in the narrative prefiguring details and key elements which shall bear later fruit.

 Genres are constrained conversations. Constraint is essential, defining the rules and assumptions open to an author. If hard SF occupies the center of science fiction, that is probably because hardness gives the firmest boundary. Science itself yields crisp confines.

 Genres are also like immense discussions, with ideas developed, traded, mutated, their variations spun down through time. Players ring changes on each other—more like a steppin’-out jazz band than a solo concert in a plush auditorium. Contrast “serious” fiction (more accurately described, in my eyes, as merely self-consciously solemn). It has canonical classics that supposedly stand outside of time, deserving awe, looming great and intact by themselves.

 Much of the pleasure of mysteries, of espionage novels or SF, lies in the interaction of writers with each other and, particularly in SF’s invention of fandom, with the readers as well. This isn’t a defect; it’s the essential nature of popular culture, which the United States has dominated in our age, with the invention of jazz, rock, the musical, and written genres such as the Western, the hardboiled detective, modern fantasy, and other rich areas. Many kinds of SF (hard, utopian, military, satirical) share assumptions, code words, lines of argument, narrative voices. Fond remembrance of golden age Astounding and its letter column, of the New Wave, of Horace Gold’s Galaxy—these are echoes of distant conversations earnestly carried out.

 Genre pleasures are many, but this quality of shared values within an ongoing discussion may be the most powerful, enlisting lifelong devotion in its fans. In contrast to the Grand Canon view of great works standing like monoliths in a deserted landscape, genre reading satisfactions are a striking facet of modern democratic (pop) culture, a shared movement.

 There are questions about how writers deal with what some call the “anxiety of influence,” but which I’d prefer to term more mildly: the digestion of tradition.

 I’m reminded of John Berger’s definition of hack work, describing oil painting in Ways of Seeing, as “…not the result of either clumsi­ ness or provincialism; it is the result of the market making more insistent demands than the art.” Fair enough; but this can happen in any context. Working in a known region of concept-space does not necessarily imply that the territory has been mined out. Nor is fresh ground always fertile.

 Surely we should notice that a novel Hemingway thought the best in American literature is a sequel—indeed, following on a boy’s book, Tom Sawyer.

 Sharing common ground isn’t only a literary tradition. Are we thrown into moral confusion when we hear Rhapsody on a Theme by Paganini? Do we indignantly march from the concert hall when assaulted by Variations on a Theme by Haydn? Sharecropping by the Greats? Shocking!

 Reinspecting the assumptions and methods of classical works can yield new fruit. Fresh narrative can both strike out into new territory while reflecting on the landscape of the past. Recall that Hamlet drew from several earlier plays about the same plot.

 Isaac himself revisited the Foundation, taking different angles of attack each time. In the beginning, psychohistory equated the movements of people as a whole with the motions of molecules. The Second Foundation looked at perturbations to such determin­ istic laws (the Mule) and implied that only a superhuman elite could manage instabilities. Later, robots emerged as the elite, better than humans at dispassionate government. Beyond robots came Gaia…and so on.

 In this three-book series we shall reinspect the role of robots, and what psychohistory might look like as a theory. More riffs upon the basic tune.

 I had always wondered about crucial aspects of Asimov’s Empire:

 Why were there no aliens in the galaxy?

 What role did computers play? Particularly, vs. robots?

 What did the theory of psychohistory actually look like?

 Finally, who was Hari Seldon—as a character, a man?

 This novel attempts some answers. It is my contribution to a discussion about power and determinism which has now spanned over half a century.

 Of course, we know some incidental answers. The term “psycho­ history” was commonly used in the thirties and appears in the 1934 Webster’s Dictionary; Isaac greatly extended its meaning, though. He didn’t want to deal with John W. Campbell’s notorious dislike of aliens who might be as clever as we, so his Foundation had none. But it seemed to me there might be more to the matter.

 As well, Asimov’s uniting of his robot novels and the Foundation series became intricate and puzzling. The British critic Brian Stableford found this “comforting in its claustrophobic enclosure.” There are no robots in the early Foundation novels, but they are behind-the-scenes manipulators in both Prelude to Found­ ation and Forward the Foundation.

 Some form of advanced computing machines must underlie the Empire, surely. Isaac remarked that “I just put very advanced com­ puters in the new Foundation novel and hoped that nobody would notice the inconsistency. Nobody did.” As James Gunn remarked, “More accurately, people noticed but didn’t care.”

 Asimov wrote each novel at the level of the then current scientific understanding. Later works updated the surrounding science. Thus his galaxy is more detailed in later books, including in Foundation’s Edge both advanced computers and a black hole at the Galactic Center. Similarly, here I have depicted our more detailed knowledge of the Galactic Center. In place of Isaac’s “hyperspace” ships I have used wormholes, which have considerably more theoretical justific­ ation now than they did when Einstein and Rosen introduced them in the 1930s. Indeed, wormholes are allowed by the general theory of relativity, but must have extreme forms of matter to form and support them. (Matt Visser’s Lorentzian Wormholes is the standard work on current thinking.)

 Isaac wrote much of his fiction in a style he termed “direct and spare,” though in the later works he relaxed this constraint a bit. I have not attempted to write in the Asimov style. (Those who think it is easy to write clearly about complex subjects should try it.) For the Foundation novels he used a particularly bare-boards approach, with virtually no background descriptions or novelistic details.

 Note his own reaction when he decided to return to the series and revisited the trilogy:

 “I read it with mounting uneasiness. I kept waiting for something to happen, and nothing ever did. All three volumes, all the nearly quarter of a million words, consisted of thoughts and conversation. No action. No physical suspense.”

 But it worked, famously so. I could not manage such an ap­ proach, so have taken my own way.

 I found that the details of Trantor, of psychohistory and the Empire, called out to me as I began thinking about this novel—in-deed, they led me on my subconscious quest of the underlying story. So the book is not an imitation Asimov novel but a Benford novel using Asimov’s basic ideas and backdrop.

 Necessarily my approach has harkened back to the older storytelling styles which prevailed in the SF of Isaac’s days. I have never responded favorably to the recent razoring of literature by critics—the tribes of structuralists, post-modernists, deconstruction­ ists. To many SF writers, “post-modern” is simply a signature of exhaustion. Its typical apparatus—self-reference, heavy dollops of obligatory irony, self-conscious use of older genre devices, pastiche, and parody—betrays lack of invention, of the crucial coin of SF, imagination. Some deconstructionists have attacked science itself as mere rhetoric, not an ordering of nature, seeking to reduce it to the status of the ultimately arbitrary humanities. Most SF types find this attack on empiricism a worn old song with new lyrics, quite quaintly retro.

 At the core of SF lies the experience of science. This makes the genre finally hostile to such fashions in criticism, for it values its empirical ground. Deconstructionism’s stress on contradictory or self-contained internal differences in texts, rather than their link to reality, often merely leads to literature seen as empty word games.

 SF novels give us worlds which are not to be taken as metaphors but as real. We are asked to participate in wrenchingly strange events, not merely watch them for clues to what they’re really talking about. (Ummm, if this stands for that, then the other stuff must stand for…Not a way to gather narrative momentum.) The Mars and stars and digital deserts of our best novels are, finally, to be taken as real, as if to say: Life isn’t like this, it is this. Journeys can go to fresh places, not merely return us to ourselves.

 Even so, I’ve indulged myself a bit in the satirical scenes depicting an academia going off the rails, but I feel Isaac would have ap­ proved of my targets. Readers thinking I’ve gone overboard in de­ picting the view that science does not deal with objective truths, but instead is a battleground of power politics where “naïve realism” meets relativist worldviews, should look into The Golem by Harry Collins and Trevor Pinch. This book attempts to portray scientists as no more the holders of objective knowledge than are lawyers or travel agents.

 The recent “re-norming” of the Scholastic Aptitude Tests so that each year the average is forced to the same number, thus masking the decline of ability in students, I satirize in the very last pages of the novel; I hope Isaac would have gotten a chuckle from seeing the issue framed against an entire galaxy.

 From Verne and Wells to somewhere near 1970, science fiction was mostly about the wonders of movement, of transportation. Note the innumerable novels with the word star in their titles, evoking far destinations, and stories such as Robert Heinlein’s “The Roads Must Roll.”

 But in the past few decades we have focused more on the wonders of information, of transformations at least partly internal, not ex­ ternal. The Internet, virtual reality, computer simulations—all these loom large in our visions of our futures. This novel attempts to combine these two themes, with several conspicuous scenes about travel, and a larger back­ ground motif on computers.

 As James Gunn noted, the Foundation series is a saga. Its method lies in a repeated pattern: Out of the solution of each problem grows the next problem to be solved. This became, of course, a considerable constraint on later novels. Asimov seemed to be saying that life was a series of problems to be solved, but life itself could never be solved. As Gunn remarked, considering that the combined and integrated Foundation and Robot saga now covers sixteen books, perhaps a directory of it all is called for, named, perhaps, Encyclopedia Galactica?

 Galactic empires became a mainstay frame for science fiction. Poul Anderson’s Flandry novels and Gordon R. Dickson (in his Dorsai series) particularly studied the sociopolitical structure of such vast complexes, for a powerful, autocratic imperial system demands great organizational skill—the primary asset of the Ro­ mans themselves.

 Isaac was not always consistent in his numbers. How many dwell on Trantor? Usually he says forty billion, but in Second Foundation it is 400 billion (unless that’s a typo). Spread forty billion over an Earth-sized world (with all its seas drained), and that’s only about a hundred per square kilometer. Surely housing them would not demand a half-kilometer-deep city.

 Dates also get difficult to follow, across such immensities of time. Trantor is at least 12,000 years old—and note that we assume that the year is Earth’s, though Earth’s location has been forgotten. By the Galactic Empire calendar, Pebble in the Sky, which has references to hundreds of thousands of years of expansion into space, occurs about 900 G.E. In Foundation atomic energy is 50,000 years old. The robot Daneel is 20,000 years old in Prelude to Foundation and in Forward the Foundation. How far away in our future do the Sun and Spaceship emblem rule? Perhaps 40,000 years? No one date reconciles every detail.

 Not that it truly matters. I know the dangers of writing a long series over decades. I took twenty-five years to wrestle with the six volumes of my Galactic Center series. Undoubtedly there are con­ tradictions I missed in dating and other details, even though I laid it all out in a timeline, published in the last volume. The aliens of that series are not those implicated in this novel, but there are clearly conceptual links.

 Science fiction speaks of the future, but to the present. The grand issues of social power and the technology that drives it will never fade. Often problems are best seen in the perspectives of implica­ tion, before we meet them on the gritty ground of their arrival.

 Isaac Asimov was ultimately hopeful about humanity. He saw us again and again coming to a crossroads and prevailing. The Foundation is about that.

 What matters in sagas is sweep. This, the Foundation series surely has. I can only hope I have added a bit to that.

 Works tracing the intricacies of the Foundation include notably Alexei and Cory Panshin’s historical The World Beyond the Hill, James Gunn’s insightful Isaac Asimov, Joseph Patrouch’s thorough The Science Fiction of Isaac Asimov, and Alva Rogers’ Requiem for Astounding, which gives a sense of what it was like to read the classic works as they appeared. I learned from all these studies.

 For advice and comments on this project I am especially grateful to Janet Asimov, Mark Martin, David Brin, Joe Miller, Jennifer Brehl, and Elisabeth Brown for close readings of the manuscript. My gratitude goes to Don Dixon for his fantastical, future beastiary. Appreciation for general help is due to my wife Joan, Abbe, and to Ralph Vicinanza, Janet Asimov, James Gunn, John Silbersack, Donald Kingsbury, Chris Schelling, John Douglas, Greg Bear, George Zebrowski, Paul Carter, Lou Aronica, Jennifer Hershey, Gary Westfahl and John Clute. Thanks to all.

 September 1996