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The Robot Stories Publication History: 1954-1976
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JohnnyPez9
Jun 6, 1999, 3:00:00 AM6/6/99
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In the mid-1950s Isaac Asimov was at the top of his form as a science-fiction
writer. As one of John Campbell's stable of writers for _Astounding Science
Fiction_ in the 1940s, Asimov had slowly risen to prominence largely on the
basis of his short story "Nightfall" and two series of stories, one dealing
with robots in the 21st century (the Positronic Robot series) and one with the
fall of the Galactic Empire in the distant future (the Foundation series).
Asimov had ceased writing stories in the Foundation series in 1949, and when
the stories were collected into a set of three books in the early 1950s called
the Foundation Trilogy (_Foundation_, _Foundation and Empire_, and _Second
Foundation_), that, as far as Asimov was concerned, was it for the Foundaiton
series.
However, Asimov had no intention of giving up the Positronic Robot series,
even though nine of his robot stories were collected into a book called _I,
Robot_ in 1950. When _I, Robot_ appeared, Asimov had two unpublished robot
stories on hand. One, "First Law", written in December 1941, had been rejected
by Campbell, and had remained unpublished until it appeared in the October 1956
issue of _Fantastic Universe_. The other, "Flesh and Metal", written in 1949,
had appeared in the April 1951 issue of _Amazing Science Fiction_ under the
title "Satisfaction Guaranteed". Both stories featured characters from the
stories in _I, Robot_, and they were harbingers of stories to come.
On July 18, 1954, Asimov began "Risk", his first robot story since 1950's "The
Evitable Conflict". "Risk" was a sequel to the 1946 story "Little Lost Robot",
one of the stories in _I, Robot_. As in the earlier story, the setting is an
asteroid where a research project is under way to perfect faster-than-light
travel. The researchers are ready to test a prototype ship, with a robot at
the controls. For some reason, however, the ship fails to make the jump to
hyperspace, and one of the technicians from the base is forced (much against
his will) to go investigate. Asimov sent the story to Campbell of _Astounding_
on September 3. Campbell asked for a revision, Asimov complied, and Campbell
accepted the story on September 13. "Risk" appeared in the May 1955 issue of
_Astounding_.
Asimov's next robot story, "Let's Get Together", was based on a suggestion by
Howard Bensusan, a graduate student at the medical school where Asimov worked.
The story is set in a different future than the stories in _I, Robot_. In
"Let's Get Together", the Cold War between the US and the USSR has continued
into the mid-21st century. The American government has uncovered a plot by the
Soviets to deal the American scientific community a major blow by smuggling a
bomb into a scientific conference. The bomb will be brought in by a dozen
androids impersonating various scientists, and if the androids manage to gather
together, their proximity to each other will set off the bomb. The problem is
to identify which scientists are being impersonated, and prevent them from
reaching the conference. Asimov wrote the story in July 1956, and it appeared
in the February 1957 issue of _Infinity_.
Asimov returned to Susan Calvin of US Robots in a story he began on April 12,
1957. The story, "Galley Slave," was inspired by a conversation Asimov had
with Horace Gold, editor of _Galaxy Science Fiction_, the day before. Gold had
called Asimov to plead for him to write a story. Asimov answered that he was
too busy proofing the galleys of a textbook he was co-writing. Gold suggested
that Asimov have someone else proof the galleys. Horrified, Asimov answered,
"Impossible! I wouldn't trust anyone else!" That ended the conversation, but
on his way back to the galleys, Asimov was inspired by the notion of having a
robot to do the galleys. The result was a story in which a professor sues US
Robots, claiming that a robot who had proofread his book had made major,
detrimental alterations to it. Susan Calvin is able to prove that the
professor himself made the alterations in order to discredit the robot. Asimov
mailed the story to Gold on April 18, and it appeared in the December 1957
issue of _Galaxy_.
Susan Calvin also appeared in Asimov's next story, which he wrote while on
vacation in Connecticut in August 1957. In the story, called "What's the
Use?", a production line error at US Robots results in a mentally impaired
robot. Susan Calvin is given charge of the robot to determine if it can be
salvaged. Although Calvin has little success with the robot, she refuses to
give up on it. The reason for her stubborness comes to light when her
co-workers hear the robot calling Calvin "Mommie". The story appeared in the
January 1958 issue of _Infinity_ under the title "Lenny".
At this point in his writing career, a major change overtook Asimov. He began
writing science fiction in 1938, and for the next sixteen years, that was all
he wrote, except for his doctoral dissertation and a few papers in chemical
journals. However, beginning in the early 1950s, several events began moving
Asimov away from science fiction, and towards science fact. First, once Asimov
joined the faculty of Boston University School of Medicine in 1949, he
discovered that he was a much better lecturer than researcher. Since writing
could be considered a form of lecturing (so Asimov considered it, at any rate),
writing about science would be a viable alternative to conducting research (and
would be much more enjoyable). Second, in 1950 Asimov began collaborating with
two of his academic colleagues on a biochemistry textbook. Asimov liked the
writing, but hated the collaborating, and the experience made him yearn to
write his own book on biochemistry. Third, in 1951 Bill Boyd, one of Asimov's
textbook collaborators, arranged a lunch meeting between Asimov and Angus
Cameron, an editor at Little, Brown to discuss a popular biochemistry book.
Both Cameron and his successor, Jane Lawson turned down the book, but Asimov
had enjoyed writing it, and it showed him that he did in fact have a talent for
writing nonfiction. Finally, in 1953, Henry Schuman, a publisher of science
books for teenagers, approached Bill Boyd to ask him to produce a young-adults
version of one of his books. Boyd referred Schuman to Asimov, and Asimov
agreed to write a short book on biochemistry for teenagers called _The
Chemicals of Life_. The book was accepted by a successor firm called
Abelard-Schuman, and published in 1954.
_The Chemicals of Life_ was Asimov's thirteenth published book. Apart from
the biochemistry textbook, the previous twelve had all been science fiction.
Twenty of Asimov's first thirty books were fiction. However, by the late
1950s, as Asimov's writing output increased, the ratio of fiction to nonfiction
dropped dramatically. After finishing "Lenny", Asimov would not write another
Positronic Robot story for twelve years.
By 1968, Asimov had ceased to spontaneously write science fiction. If he
wrote a story, it would only be because somebody had asked him to write one.
In December 1968, Judy-Lynn Benjamin, managing editor of _Galaxy_ and _If_
magazines, suggested that Asimov write a story about a female robot. The
suggestion got Asimov thinking, and on January 10, 1969 he began writing a
story called "Feminine Intuition". The story takes place after Susan Calvin's
retirement from US Robots. Her successor, Clinton Madarian, initiates a
project to produce intuitive robots. In order to make the idea more palatable
to the general public, the intuitive robots are designed to seem feminine
rather than masculine. After five years of work, the intuitive robot is built,
and set the problem of finding habitable planets circling nearby stars.
However, both the robot and Madarian die in an accident before they can
announce their discovery, and Susan Calvin is called in to try to work out the
robot's discovery.
Asimov regarded Benjamin's comment as fortuitous, since Ed Ferman, editor of
_The Magazine of Fantasy and Science Fiction_ had earlier asked him for a story
for the magazine's 20th anniversary edition, and "Feminine Intuition" was
perfect. It eventually appeared in the October 1969 issue of _F&SF_. However,
when Benjamin learned about the story's sale, she was not happy. She said,
"You mean you gave Ed Ferman _my_ idea?"
"Did _you_ want it, Judy-Lynn?" said Asimov.
"Of course I wanted it, dummy! Do you think I'm going to waste good ideas on
you so _other_ people can get it?"
Perhaps chastened by the experience, Asimov didn't write another robot story
for four years. The next story resulted from a request from Ed Ferman and
Barry Malzberg, who were putting together an anthology of original science
fiction stories called _Final Stage_. The idea was to take a number of common
science fiction categories and take them to their logical conclusions. Ferman
and Malzberg wanted Asimov to write an "ultimate robot story", and after some
hesitation, he agreed. There had always been one aspect of the robot theme
that he had never had the courage to tackle, although he and John Campbell had
sometimes discussed it. The three laws of robotics define the relationship
between robots and human beings, but what makes a human being human in the eyes
of a robot? In "That Thou Art Mindful of Him" set over a century after the
death of Susan Calvin, a series of robots are built by US Robots that are so
sophisticated that they are able to redefine the definition of human for
themselves. In the end, they decide that any reasonable definition of human
must also necessarily include robots. Asimov started the story on March 6,
1973, and it eventually appeared in _Final Stage_, and also in the May 1974
issue of _F&SF_.
Asimov's next robot story was written at the request of the _Saturday Evening
Post_. (It is an indication of their changing fortunes that in the 1940s
Asimov was unable to sell a story to the _Post_, but by 1973 the _Post_ was
actually soliciting stories from him.) While Asimov was pondering story ideas,
his fiancee Janet Jeppson cooked a particularly good dinner, despite having a
migraine headache. He wondered idly if her headache had been the reason the
dinner was so good, which led him to think of a robot who that out of order,
and that was a creative genius as a result. On May 7, 1973 therefore, Asimov
wrote a story called "Light Verse" in which a famous artist owns a
malfunctioning household robot. The chief engineer of US Robots is a fan of
the artist's work, and in order to show his appreciation, he has the artist's
robot repaired. It turns out, of course, that the robot had been the artist,
and the repairs have eliminated the robot's artistic talent. The _Post_
accepted the story, and it appeared in the September-October 1973 issue.
On August 15, 1974 a woman named Naomi Gordon visited Asimov with an idea for
a science-fiction anthology. It would be published in time for the American
Bicentennial in 1976, and would feature stories by ten famous science-fiction
writers. The stories would all be called "The Bicentennial Man", which would
also be the title of the anthology. Asimov said he might participate, and
asked Gordon to come back when the matter was more firmly established. He
didn't expect to see her again, but on January 27, 1975, she was back, with a
story contract and a cash advance. Asimov signed, and on March 2 began work on
"The Bicentennial Man". Instead of writing about the American Bicentennial, he
decided to write about another 200th anniversary. He came up with the idea of
writing a story about a robot who wishes to become human, and who achieves the
goal on the 200th anniversary of its/his construction. The story follows the
robot, Andrew, from his early days as a nursemaid in the mid-22nd century to a
period two centuries later when he has remade himself into a human being.
Asimov finished the story on March 14, and mailed it to Gordon, who accepted
the story enthusiastically.
A few months later, Asimov was having dinner with his friend Lester del Rey.
Del Rey's new wife, none other than Judy-Lynn Benjamin, asked him how it was
that he was able to write a story for Gordon's anthology, but not for her.
"Well, Judy-Lynn, the idea of the anthology interested me."
"How about my idea about a robot that had to choose between buying its own
liberty and improving its body? I thought you said that was interesting."
"Good Lord, Judy-Lynn, that's right, you did suggest that once. I'm afraid I
incorporated something like that in the anthology story."
"Again?! Again you're using my ideas for other people?! Let me see that
story. Let me see it!"
"What good will that do, Judy-Lynn? I've given it to Naomi Gordon."
"Don't you know anything, Asimov? That anthology isn't coming out. Write her
and you'll see."
Judy-Lynn del Rey was right. _The Bicentennial Man_ had fallen through.
Asimov returned Gordon's advance and got the story back, and del Rey published
it the following January in her anthology _Stellar-2_. "The Bicentennial Man"
proved to be so popular that the following year it won the Hugo and Nebula
awards for best novelette of 1976.
writer. As one of John Campbell's stable of writers for _Astounding Science
Fiction_ in the 1940s, Asimov had slowly risen to prominence largely on the
basis of his short story "Nightfall" and two series of stories, one dealing
with robots in the 21st century (the Positronic Robot series) and one with the
fall of the Galactic Empire in the distant future (the Foundation series).
Asimov had ceased writing stories in the Foundation series in 1949, and when
the stories were collected into a set of three books in the early 1950s called
the Foundation Trilogy (_Foundation_, _Foundation and Empire_, and _Second
Foundation_), that, as far as Asimov was concerned, was it for the Foundaiton
series.
However, Asimov had no intention of giving up the Positronic Robot series,
even though nine of his robot stories were collected into a book called _I,
Robot_ in 1950. When _I, Robot_ appeared, Asimov had two unpublished robot
stories on hand. One, "First Law", written in December 1941, had been rejected
by Campbell, and had remained unpublished until it appeared in the October 1956
issue of _Fantastic Universe_. The other, "Flesh and Metal", written in 1949,
had appeared in the April 1951 issue of _Amazing Science Fiction_ under the
title "Satisfaction Guaranteed". Both stories featured characters from the
stories in _I, Robot_, and they were harbingers of stories to come.
On July 18, 1954, Asimov began "Risk", his first robot story since 1950's "The
Evitable Conflict". "Risk" was a sequel to the 1946 story "Little Lost Robot",
one of the stories in _I, Robot_. As in the earlier story, the setting is an
asteroid where a research project is under way to perfect faster-than-light
travel. The researchers are ready to test a prototype ship, with a robot at
the controls. For some reason, however, the ship fails to make the jump to
hyperspace, and one of the technicians from the base is forced (much against
his will) to go investigate. Asimov sent the story to Campbell of _Astounding_
on September 3. Campbell asked for a revision, Asimov complied, and Campbell
accepted the story on September 13. "Risk" appeared in the May 1955 issue of
_Astounding_.
Asimov's next robot story, "Let's Get Together", was based on a suggestion by
Howard Bensusan, a graduate student at the medical school where Asimov worked.
The story is set in a different future than the stories in _I, Robot_. In
"Let's Get Together", the Cold War between the US and the USSR has continued
into the mid-21st century. The American government has uncovered a plot by the
Soviets to deal the American scientific community a major blow by smuggling a
bomb into a scientific conference. The bomb will be brought in by a dozen
androids impersonating various scientists, and if the androids manage to gather
together, their proximity to each other will set off the bomb. The problem is
to identify which scientists are being impersonated, and prevent them from
reaching the conference. Asimov wrote the story in July 1956, and it appeared
in the February 1957 issue of _Infinity_.
Asimov returned to Susan Calvin of US Robots in a story he began on April 12,
1957. The story, "Galley Slave," was inspired by a conversation Asimov had
with Horace Gold, editor of _Galaxy Science Fiction_, the day before. Gold had
called Asimov to plead for him to write a story. Asimov answered that he was
too busy proofing the galleys of a textbook he was co-writing. Gold suggested
that Asimov have someone else proof the galleys. Horrified, Asimov answered,
"Impossible! I wouldn't trust anyone else!" That ended the conversation, but
on his way back to the galleys, Asimov was inspired by the notion of having a
robot to do the galleys. The result was a story in which a professor sues US
Robots, claiming that a robot who had proofread his book had made major,
detrimental alterations to it. Susan Calvin is able to prove that the
professor himself made the alterations in order to discredit the robot. Asimov
mailed the story to Gold on April 18, and it appeared in the December 1957
issue of _Galaxy_.
Susan Calvin also appeared in Asimov's next story, which he wrote while on
vacation in Connecticut in August 1957. In the story, called "What's the
Use?", a production line error at US Robots results in a mentally impaired
robot. Susan Calvin is given charge of the robot to determine if it can be
salvaged. Although Calvin has little success with the robot, she refuses to
give up on it. The reason for her stubborness comes to light when her
co-workers hear the robot calling Calvin "Mommie". The story appeared in the
January 1958 issue of _Infinity_ under the title "Lenny".
At this point in his writing career, a major change overtook Asimov. He began
writing science fiction in 1938, and for the next sixteen years, that was all
he wrote, except for his doctoral dissertation and a few papers in chemical
journals. However, beginning in the early 1950s, several events began moving
Asimov away from science fiction, and towards science fact. First, once Asimov
joined the faculty of Boston University School of Medicine in 1949, he
discovered that he was a much better lecturer than researcher. Since writing
could be considered a form of lecturing (so Asimov considered it, at any rate),
writing about science would be a viable alternative to conducting research (and
would be much more enjoyable). Second, in 1950 Asimov began collaborating with
two of his academic colleagues on a biochemistry textbook. Asimov liked the
writing, but hated the collaborating, and the experience made him yearn to
write his own book on biochemistry. Third, in 1951 Bill Boyd, one of Asimov's
textbook collaborators, arranged a lunch meeting between Asimov and Angus
Cameron, an editor at Little, Brown to discuss a popular biochemistry book.
Both Cameron and his successor, Jane Lawson turned down the book, but Asimov
had enjoyed writing it, and it showed him that he did in fact have a talent for
writing nonfiction. Finally, in 1953, Henry Schuman, a publisher of science
books for teenagers, approached Bill Boyd to ask him to produce a young-adults
version of one of his books. Boyd referred Schuman to Asimov, and Asimov
agreed to write a short book on biochemistry for teenagers called _The
Chemicals of Life_. The book was accepted by a successor firm called
Abelard-Schuman, and published in 1954.
_The Chemicals of Life_ was Asimov's thirteenth published book. Apart from
the biochemistry textbook, the previous twelve had all been science fiction.
Twenty of Asimov's first thirty books were fiction. However, by the late
1950s, as Asimov's writing output increased, the ratio of fiction to nonfiction
dropped dramatically. After finishing "Lenny", Asimov would not write another
Positronic Robot story for twelve years.
By 1968, Asimov had ceased to spontaneously write science fiction. If he
wrote a story, it would only be because somebody had asked him to write one.
In December 1968, Judy-Lynn Benjamin, managing editor of _Galaxy_ and _If_
magazines, suggested that Asimov write a story about a female robot. The
suggestion got Asimov thinking, and on January 10, 1969 he began writing a
story called "Feminine Intuition". The story takes place after Susan Calvin's
retirement from US Robots. Her successor, Clinton Madarian, initiates a
project to produce intuitive robots. In order to make the idea more palatable
to the general public, the intuitive robots are designed to seem feminine
rather than masculine. After five years of work, the intuitive robot is built,
and set the problem of finding habitable planets circling nearby stars.
However, both the robot and Madarian die in an accident before they can
announce their discovery, and Susan Calvin is called in to try to work out the
robot's discovery.
Asimov regarded Benjamin's comment as fortuitous, since Ed Ferman, editor of
_The Magazine of Fantasy and Science Fiction_ had earlier asked him for a story
for the magazine's 20th anniversary edition, and "Feminine Intuition" was
perfect. It eventually appeared in the October 1969 issue of _F&SF_. However,
when Benjamin learned about the story's sale, she was not happy. She said,
"You mean you gave Ed Ferman _my_ idea?"
"Did _you_ want it, Judy-Lynn?" said Asimov.
"Of course I wanted it, dummy! Do you think I'm going to waste good ideas on
you so _other_ people can get it?"
Perhaps chastened by the experience, Asimov didn't write another robot story
for four years. The next story resulted from a request from Ed Ferman and
Barry Malzberg, who were putting together an anthology of original science
fiction stories called _Final Stage_. The idea was to take a number of common
science fiction categories and take them to their logical conclusions. Ferman
and Malzberg wanted Asimov to write an "ultimate robot story", and after some
hesitation, he agreed. There had always been one aspect of the robot theme
that he had never had the courage to tackle, although he and John Campbell had
sometimes discussed it. The three laws of robotics define the relationship
between robots and human beings, but what makes a human being human in the eyes
of a robot? In "That Thou Art Mindful of Him" set over a century after the
death of Susan Calvin, a series of robots are built by US Robots that are so
sophisticated that they are able to redefine the definition of human for
themselves. In the end, they decide that any reasonable definition of human
must also necessarily include robots. Asimov started the story on March 6,
1973, and it eventually appeared in _Final Stage_, and also in the May 1974
issue of _F&SF_.
Asimov's next robot story was written at the request of the _Saturday Evening
Post_. (It is an indication of their changing fortunes that in the 1940s
Asimov was unable to sell a story to the _Post_, but by 1973 the _Post_ was
actually soliciting stories from him.) While Asimov was pondering story ideas,
his fiancee Janet Jeppson cooked a particularly good dinner, despite having a
migraine headache. He wondered idly if her headache had been the reason the
dinner was so good, which led him to think of a robot who that out of order,
and that was a creative genius as a result. On May 7, 1973 therefore, Asimov
wrote a story called "Light Verse" in which a famous artist owns a
malfunctioning household robot. The chief engineer of US Robots is a fan of
the artist's work, and in order to show his appreciation, he has the artist's
robot repaired. It turns out, of course, that the robot had been the artist,
and the repairs have eliminated the robot's artistic talent. The _Post_
accepted the story, and it appeared in the September-October 1973 issue.
On August 15, 1974 a woman named Naomi Gordon visited Asimov with an idea for
a science-fiction anthology. It would be published in time for the American
Bicentennial in 1976, and would feature stories by ten famous science-fiction
writers. The stories would all be called "The Bicentennial Man", which would
also be the title of the anthology. Asimov said he might participate, and
asked Gordon to come back when the matter was more firmly established. He
didn't expect to see her again, but on January 27, 1975, she was back, with a
story contract and a cash advance. Asimov signed, and on March 2 began work on
"The Bicentennial Man". Instead of writing about the American Bicentennial, he
decided to write about another 200th anniversary. He came up with the idea of
writing a story about a robot who wishes to become human, and who achieves the
goal on the 200th anniversary of its/his construction. The story follows the
robot, Andrew, from his early days as a nursemaid in the mid-22nd century to a
period two centuries later when he has remade himself into a human being.
Asimov finished the story on March 14, and mailed it to Gordon, who accepted
the story enthusiastically.
A few months later, Asimov was having dinner with his friend Lester del Rey.
Del Rey's new wife, none other than Judy-Lynn Benjamin, asked him how it was
that he was able to write a story for Gordon's anthology, but not for her.
"Well, Judy-Lynn, the idea of the anthology interested me."
"How about my idea about a robot that had to choose between buying its own
liberty and improving its body? I thought you said that was interesting."
"Good Lord, Judy-Lynn, that's right, you did suggest that once. I'm afraid I
incorporated something like that in the anthology story."
"Again?! Again you're using my ideas for other people?! Let me see that
story. Let me see it!"
"What good will that do, Judy-Lynn? I've given it to Naomi Gordon."
"Don't you know anything, Asimov? That anthology isn't coming out. Write her
and you'll see."
Judy-Lynn del Rey was right. _The Bicentennial Man_ had fallen through.
Asimov returned Gordon's advance and got the story back, and del Rey published
it the following January in her anthology _Stellar-2_. "The Bicentennial Man"
proved to be so popular that the following year it won the Hugo and Nebula
awards for best novelette of 1976.
Stan Pope
Jun 6, 1999, 3:00:00 AM6/6/99
to
For those who haven't noticed yet. Ed put
the following essays by Johnny Pez on the Isaac Asimov Home Page at
http://www.clark.net/pub/edseiler/WWW/asimov_home_page.html
the following essays by Johnny Pez on the Isaac Asimov Home Page at
http://www.clark.net/pub/edseiler/WWW/asimov_home_page.html
The publishing history of the Positronic Robot and Foundation stories:
"Part 1: 1940-1941"
"Part 2: 1941-1944"
"Part 3: 1944-1951"
and
"The publishing history of the Positronic Robot and Empire stories"
JohnnyPez9
Jun 10, 1999, 3:00:00 AM6/10/99
to
Oops! I left "Mirror Image" out of this essay. For the corrected version, see
"The Slightly Longer Robot Stories Publication History: 1954-1976".
"The Slightly Longer Robot Stories Publication History: 1954-1976".
Johnny Pez
"Surfing the Internet for over a fiftieth of a century."
Ed Seiler
Jun 15, 1999, 3:00:00 AM6/15/99
to
In article <19990610001629...@ng-cl1.aol.com>,
johnn...@aol.com (JohnnyPez9) wrote:
johnn...@aol.com (JohnnyPez9) wrote:
>Oops! I left "Mirror Image" out of this essay. For the corrected version, see
>"The Slightly Longer Robot Stories Publication History: 1954-1976".
I don't see any mention of "Mirror Image" in the re-post.
--
Ed Seiler "There are no nations! There is only humanity.
edse...@clark.net And if we don't come to understand that right
soon, there will be no nations, because there
will be no humanity."
-- Isaac Asimov, in _I. Asimov: A Memoir_
Richard Horton
Jun 16, 1999, 3:00:00 AM6/16/99
to
On Tue, 15 Jun 1999 12:11:30 -0400, edse...@clark.net (Ed Seiler)
wrote:
wrote:
>In article <19990610001629...@ng-cl1.aol.com>,
>johnn...@aol.com (JohnnyPez9) wrote:
>
>>Oops! I left "Mirror Image" out of this essay. For the corrected version, see
>>"The Slightly Longer Robot Stories Publication History: 1954-1976".
>
>I don't see any mention of "Mirror Image" in the re-post.
It's there, but Johnny forgot to mention the title.
P. S. These posts have been wonderful, Johnny. Much applause.
--
Rich Horton | Stable Email: richard...@sff.net
Home Page: www.sff.net/people/richard.horton
Also visit SF Site (www.sfsite.com) and Tangent Online (www.sfsite.com/tangent)
Johnny Pez
Jun 17, 1999, 3:00:00 AM6/17/99
to
Richard Horton writes:
>On Tue, 15 Jun 1999 12:11:30 -0400, edse...@clark.net (Ed Seiler)
>wrote:
>>I don't see any mention of "Mirror Image" in the re-post.
>
>It's there, but Johnny forgot to mention the title.
Good grief, I forgot the TITLE??? Oh, noooo, I can feel brain cells dying off!
Ok, here's a patch:
Asimov submitted the story, called "Mirror Image", to Bova on November 4, and
it appeared in the May 1972 issue of _Analog_.
Now I'm up to version 2.1 of this particular essay. What a drag it is getting
old.
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