Isaac Asimov needs no introduction, I believe, not especially to those well-versed in the Science-Fiction genre, a much-maligned area of speculative fiction that has only in recent (well, recent at least in literary terms) years been receiving the recognition it deserves. Famous for genre mainstays such as "I, Robot" and the Foundation trilogy, his stories focus primarily around classic Sci-Fi themes such as possible futuristic social scenarios and the dangers of technological proliferation. He also has a penchant for mystery and twists, combining them with an epic scale to form literary masterpieces both thought-provoking yet incredibly popular.
And yet, as with most writers of Speculative Fiction, while the meat of his fame lies within the novels he has penned, the appetizers of his talent are most apparent from the short stories he has written. This book, "The Complete Stories, Vol 1", thus collects a large portion of these short stories, ranging from his early works, to some of his self-confessed favorite pieces. The book itself is divided into different thematic sections, but this could possibly be a result of them also being segregated by the periods in which they were written, from as early as the 1950s.
As it would be much too great an undertaking to write a review for each and every one of the fort-six short stories included in this compilation, I shall instead provide a general review of the style in which Asimov writes in most of these stories, as well as the different facets of his pieces. For those who do not already know, Asimov's writing is not especially eloquent but it is elegant and concise - he knows how to keep a reader's attention while not being devoid of descriptive detail, and unlike certain other authors, does not write in a purely self-pleasing fashion. Instead, he focuses on the reader as he writes. How so?
Well, first you must understand that Asimov harbors a particular fondness for mysteries: the inevitable plot twists and simultaneous character-reader realizations that proliferated the science-fiction literature of the time. Fortunately, he creates such scenes in a deliberately un-sensational manner, while still retaining the shock value. It is always his characters or his situations that showcase the severity of a situation or the shocking nature of a revelation, rather than him telling us and then basking in smugness - a vice that manner other short-story writers suffer from.
Yet do not be fooled into thinking that Asimov is purely a writer of mysteries - he deals constantly with ordinary men and women in extra-ordinary circumstances, revealing perhaps only the mysteries of the human mind and psyche, instead of solving crimes and alien puzzles. Two such examples come to mind - "Franchise", where a single man is randomly given the agency of choice (or is it perhaps an illusion?) that may affect the lives of billions, and "The Ugly Little Boy" a tear-jerking piece on the beauty of motherly love. One of his greatest talents is diversity, the ability to spin a humorous piece eliciting warm chuckles, to chilling diatribes on the depravity of the human condition.
But what Asimov truly is the master of is the subtle control of how information flows within the pacing of the story, how much exactly is revealed to readers at each juncture of the tale. Rarely would you catch Asimov revealing his hand at too early a juncture, nor leave readers entirely in the dark until the reveal - instead he excels in passing on the moment of Eureka! from the characters within the story to the readers themselves, allowing them the agency of solving the puzzle before it is spelled out in full. This is especially apparent in "Breeds there a Man..." as well as "The Dying Night", both excellent short stories in which the answer is hinted at but never explicitly revealed until the perfect moment. In this you can see the ideals and personal strengths that went into later heavy-hitters such as the Foundation series - an elegant simplicity of illumination hiding a masterly art of directing and manipulating the thoughts of readers.
Perish the thought, though, that due to a preference for simplicity his stories would lack ambition. Rather, they exude an epic scale - as befitting the genre, with masterpieces such as "The Last Question" dealing with hitherto unprecedented scales of settings, such that may have been much too ambitious for other authors to have handled properly. However, in the hands of Asimov, these stories then convey a feeling that is crucial to the science-fiction genre, the feeling of the sublime.
Were I pressed to find fault with Asimov's short stories, it would be in the fact that in choosing such a manner of writing, he does indeed sacrifice somewhat the eloquence of language used, in order to present as concise a picture as possible for readers while still tugging at their heartstrings. You do not see Asimov wading often into the oceans of metaphor, and even then rarely does he tread past the shallows of simile - instead he prefers to stick to facts and dialogue, through which he creates his own atmosphere; utilizing the story and characters, as well as the all-important puzzle, as his weapon of choice. Furthermore, his earlier stories are somewhat rough around the edges, nowhere as elegant and as grand as his later pieces, perhaps a reflection of a younger self still searching for his place within the writing world.
However, these are small, if not niggling faults, found within what is undoubtedly a compilation of masterpieces. Were it for some of the stories alone, I would have given this five stars, but admittedly there are some, particularly the early ones, that fall just slightly short of that perfection. For the sake of convenience and posterity, I shall include below a list showing where each of the short stories fall in the ratings:
The Dead Past (Chilling, a shadow of the Asimov to come): 4
Franchise (Entertaining, contains a hidden mystery): 4
Gimmicks Three (Disappointing twist, though the premise was interesting): 2
Kid Stuff (Not a particularly entertaining premise, and even worse climax): 2
The Watery Place (Hilarious, though not intelligent): 3
Living Space (Incredible premise and ending, now Asimov starts getting into the swing of it): 5
Satisfaction Guaranteed (Window to human emotions, ideals of his Robot series present): 4
The Last Trump (Awesome premise, and the twist will your eyes bulge at the page): 5
The Fun They Had (Don't get it, perhaps a bit too cold): 2
Jokester (Love the Multivac stories, unexpected ending): 4
The Immortal Bard (Interesting Premise, Hilarious): 3
Someday (Heart-rending): 4
The Author's Ordeal (Asimov, poet you are not): 2
Dreaming is a Private Thing (Wonderful premise): 4
Profession (Amazing world-building, even more amazing ending): 5
The Feeling of Power (Interesting future predictions): 3
The Dying Night (A quintessential mystery classic): 5
I'm in Marsport Without Hilda (Hilarious Narration, Good Mystery): 4
The Gentle Vultures (Classic Sci-Fi, Interesting Outlook): 4
All the Troubles of the World (Possibly my favorite, suspenseful with amazing ending): 5
Spell My Name with an S (Hilarious ending): 4
The Last Question (Arguably the best science-fiction short story ever written): 5
The Ugly Little Boy (This one is a definite tear-jerker): 5
Nightfall (Not an interesting ending, but amazing story-telling): 4
Green Patches (Interesting premise, but anti-climatic): 3
Hostess (Good mystery, very well-written): 4
Breeds There a Man...? (Absolutely Gripping): 5
C-Chute (Interesting view into humanity): 4
In a Good Cause- (Stunning piece on socio-political issues and heart-rending ending): 5