by James Gunn
Miniature Mysteries. Taplinger, 1981.
The Twelve Crimes of Christmas (with Carol-Lynn Rössel Waugh and Martin H. Greenberg). Avon, 1981.
Isaac Asimov Presents the Great SF Stories, 5: 1943 (with Martin H. Greenberg). DAW Books, 1981.
Catastrophes (with Martin H. Greenberg and Charles G. Waugh). Fawcett, 1981.
Isaac Asimov Presents the Great SF Stories, 6: 1944 (with Martin H. Greenberg). DAW Books, 1981.
Space Mail II (with Martin H. Greenberg and Joseph D. Olander). Fawcett, 1981.
Tantalizing Locked Room Mysteries (with Charles G. Waugh and Martin H. Greenberg). Walker, 1982.
TV:2000 (with Charles G. Waugh and Martin H. Greenberg). Fawcett, 1982.
Laughing Space (with J.O. Jeppson). Houghton Mifflin, 1982.
Speculations (with Alice Laurance). Houghton Mifflin, 1982.
Flying Saucers (with Martin H. Greenberg and Charles G. Waugh). Fawcett, 1982.
Raintree Reading Series II (with Martin H. Greenberg and Charles G. Waugh). Raintree, 1982.
Dragon Tales (with Martin H. Greenberg and Charles G. Waugh). Fawcett, 1982.
Big Apple Mysteries (with Carol-Lynn Rössel Waugh and Martin H. Greenberg). Avon, 1982.
Isaac Asimov Presents the Great SF Stories, 7: 1945 (with Martin H. Greenberg). DAW, 1982.
The Last Man on Earth (with Martin H. Greenberg and Charles G. Waugh). Fawcett, 1982.
Science Fiction A to Z (with Martin H. Greenberg and Charles G. Waugh). Houghton Mifflin, 1982.
Isaac Asimov Presents the Best Fantasy of the 19th Century (with Charles G. Waugh and Martin H. Greenberg). Beaufort, 1982.
Isaac Asimov Presents the Great SF Stories, 8: 1946 (with Martin H. Greenberg). DAW, 1982.
Isaac Asimov Presents the Great SF Stories, 9: 1947 (with Martin H. Greenberg). DAW, 1983.
Show Business Is Murder (with Carol-Lynn Rössel Waugh and Martin H. Greenberg). Avon, 1983.
Hallucination Orbit (with Charles G. Waugh and Martin H. Greenberg). Farrar, Straus & Giroux, 1983.
Caught in the Organ Draft (with Martin H. Greenberg and Charles G. Waugh). Farrar, Straus & Giroux, 1983.
The Science Fiction Weight-Loss Book (with George R.R. Martin and Martin H. Greenberg). Crown, 1983.
Isaac Asimov Presents the Best Horror and Supernatural Stories of the 19th Century (with Charles G. Waugh and Martin H. Greenberg). Beaufort, 1983.
Starships (with Martin H. Greenberg and Charles G. Waugh). Fawcett, 1983.
Isaac Asimov Presents the Great SF Stories, 10: 1948 (with Martin H. Greenberg). DAW, 1983.
The Thirteen Horrors of Halloween (with Carol-Lynn Rössel Waugh and Martin H. Greenberg). Avon, 1983.
Creations (with George Zebrowski and Martin H. Greenberg). Crown, 1983.
Wizards (with Martin H. Greenberg and Charles G. Waugh). NAL, 1983.
Those Amazing Electronic Machines (with Martin H. Greenberg and Charles G. Waugh). Franklin Watts, 1983.
Computer Crimes and Capers (with Martin H. Greenberg and Charles G. Waugh). Academic Chicago, 1983.
Intergalactic Empires (with Martin H. Greenberg and Charles G. Waugh). NAL, 1983.
Machines That Think (with Patricia S. Warrick and Martin H. Greenberg). Holt, Rinehart and Winston, 1983.
100 Great Fantasy Short Stories (with Terry Carr and Martin H. Greenberg). Doubleday, 1984.
Raintree Reading Series III (with Martin H. Greenberg and Charles G. Waugh). Raintree, 1984.
Isaac Asimov Presents the Great SF Stories, 11: 1949 (with Martin H. Greenberg). DAW, 1984.
Witches (with Martin H. Greenberg and Charles G. Waugh). NAL, 1984.
Murder on the Menu (with Carol-Lynn Rössel Waugh and Martin H. Greenberg). Avon, 1984.
Young Mutants (with Martin H. Greenberg and Charles G. Waugh). Harper & Row, 1984.
Isaac Asimov Presents the Best Science Fiction Firsts (with Charles G. Waugh and Martin H. Greenberg). Beaufort, 1984.
The Science Fictional Olympics (with Martin H. Greenberg and Charles G. Waugh). NAL, 1984.
Fantastic Reading (with Martin H. Greenberg and David C. Yeager). Scott, Foresman, 1984.
Election Day: 2084 (with Martin H. Greenberg). Prometheus, 1984.
Isaac Asimov Presents the Great SF Stories, 12: 1950 (with Martin H. Greenberg). DAW, 1984.
Young Extraterrestrials (with Martin H. Greenberg and Charles G. Waugh). Harper & Row, 1984.
Sherlock Holmes Through Time and Space (with Martin H. Greenberg and Charles G. Waugh). Blue Jay, 1984.
Supermen (with Martin H. Greenberg and Charles G. Waugh). NAL, 1984.
Thirteen Short Fantasy Novels (with Martin H. Greenberg and Charles G. Waugh). Crown, 1984.
Cosmic Knights (with Martin H. Greenberg and Charles G. Waugh). NAL, 1984.
The Hugo Winners, Volume IV. Doubleday, 1985.
Young Monsters (with Martin H. Greenberg and Charles G. Waugh). Harper & Row, 1985.
Spells (with Martin H. Greenberg and Charles G. Waugh). NAL, 1985.
Great Science Stories by the World's Great Scientists (with Martin H. Greenberg and Charles G. Waugh). Donald Fine, 1985.
Isaac Asimov Presents the Great SF Stories, 13: 1951 (with Martin H. Greenberg). DAW, 1985.
Amazing Stories Anthology (with Martin H. Greenberg). TSR, 1985.
Young Ghosts (with Martin H. Greenberg and Charles G. Waugh). Harper & Row, 1985.
Thirteen Short Science Fiction Novels (with Martin H. Greenberg and Charles G. Waugh). Crown, 1985.
Giants (with Martin H. Greenberg and Charles G. Waugh). NAL, 1985.
Isaac Asimov Presents the Great SF Stories, 14: 1952 (with Martin H. Greenberg). DAW, 1986.
Comets (with Martin H. Greenberg and Charles G. Waugh). NAL, 1986.
Young Star Travelers (with Martin H. Greenberg and Charles G. Waugh). Harper & Row, 1986.
The Hugo Winners, Volume V. Doubleday, 1986.
Mythical Beasties (with Martin H. Greenberg and Charles G. Waugh). NAL, 1986.
Isaac Asimov Presents the Great SF Stories, 15: 1953 (with Martin H. Greenberg). DAW, 1986.
The Twelve Frights of Christmas (with Charles G. Waugh and Martin H. Greenberg). Avon, 1986.
Isaac Asimov Presents the Great SF Stories, 16: 1954 (with Martin H. Greenberg). DAW, 1987.
Young Witches and Warlocks (with Martin H. Greenberg and Charles G. Waugh). Harper & Row, 1987.
Devils (with Martin H. Greenberg and Charles G. Waugh). NAL, 1987.
Hound Dunnit (with Martin H. Greenberg and Carol-Lynn Rössel Waugh). Carroll & Graf, 1987.
Space Shuttles (with Martin H. Greenberg and Charles G. Waugh). NAL, 1987.
Atlantis (with Martin H. Greenberg and Charles G. Waugh). NAL, 1988.
Isaac Asimov Presents the Great SF Stories, 17: 1955 (with Martin H. Greenberg). DAW, 1988.
Encounters (with Martin H. Greenberg and Charles G. Waugh). Headline, 1988.
Isaac Asimov Presents the Best Crime Stories of the 19th Century. Dember, 1988.
The Mammoth Book of Classic Science Fiction (with Charles G. Waugh and Martin H. Greenberg). Carroll & Graf, 1988.
Monsters (with Martin H. Greenberg and Charles G. Waugh). NAL, 1988.
Isaac Asimov Presents the Great SF Stories, 18: 1956 (with Martin H. Greenberg). DAW, 1988.
Ghosts (with Martin H. Greenberg and Charles G. Waugh). NAL, 1988.
The Sport of Crime (with Carol-Lynn Rössel Waugh and Martin H. Greenberg). Lynx, 1988.
Isaac Asimov Presents the Great SF Stories, 19: 1957 (with Martin H. Greenberg). DAW, 1989.
Tales of the Occult (with Martin H. Greenberg and Charles G. Waugh). Prometheus, 1989.
Purr-fect Crime (with Carol-Lynn Rössel Waugh and Martin H. Greenberg). Lynx, 1989.
Robots (with Martin H. Greenberg and Charles G. Waugh). NAL, 1989.
Visions of Fantasy (with Martin H. Greenberg). Doubleday, 1989.
Curses (with Martin H. Greenberg and Charles G. Waugh). NAL, 1989.
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The New Hugo Winners, Volume VI (with Martin H. Greenberg). Wynwood, 1989.
Senior Sleuths (with Martin H. Greenberg and Carol-Lynn Rössel Waugh). G.K. Hall, 1989.
Cosmic Critiques (with Martin H. Greenberg). Writers Digest, 1990.
Isaac Asimov Presents the Great SF Stories, 20: 1958 (with Martin H. Greenberg). DAW, 1990.
The New Hugo Winners, Volume II. Baen, 1991.
Autobiography
In Memory Yet Green. Doubleday, 1979.
In Joy Still Felt. Doubleday, 1980.
I. Asimov: A Memoir. Doubleday, 1994.
Yours, Isaac Asimov. Doubleday, 1995. [Correspondence edited by Stanley Asimov.]
Other SF-Related Works
Opus 100. Houghton Mifflin, 1969.
Opus 200. Houghton Mifflin, 1979.
Asimov on Science Fiction. Doubleday, 1981.
Opus 300. Houghton Mifflin, 1984.
Asimov's Galaxy. Doubleday, 1989.
Select List of Works about Isaac Asimov
Allen, L. David. Asimov's Foundation Trilogy and Other Works. Lincoln, Neb.: Cliffs Notes, 1977. A follow-up by a University of Nebraska English department faculty member to his Cliffs Notes Science Fiction: An Introduction (1973), in which he analyzed I, Robot. Some valuable comments about how Asimov's works function as fiction.
Goble, Neil. Asimov Analyzed. Baltimore: Mirage, 1972. This is a fascinating study of Asimov's writing strategies and style in nonfiction and fiction, with word-frequency counts and sentence and paragraph analyses.
Hassler, Donald M. Reader's Guide to Isaac Asimov. Mercer Island, WA: Starmont House, 1991. A provocative study of Asimov's ''general ideas" and his philosophical position.
Miller, Marjorie M. Isaac Asimov: A Checklist of Works Published in the United States, March 1939-May 1972. Kent: Kent State University Press, 1972. The basic checklist, though now dated.
Moskowitz, Sam. "Isaac Asimov" in Seekers of Tomorrow: Masters of Modern Science Fiction. Cleveland: World, 1966. A look at Asimov's life and work even before Asimov himself had started writing about it.
Olander, Joseph D., and Martin H. Greenberg, eds. Isaac Asimov. New York: Taplinger, 1977. One of a series of collections of essays on a single author edited by Olander and Greenberg, this volume brings together a variety of views about various aspects of Asimov's work, concluding with Asimov's unusual reaction to all the analysis.
Patrouch, Joseph F. The Science Fiction of Isaac Asimov. Garden City, N.Y.: Doubleday, 1974. An analysis of Asimov's works that considers their narrative success or failure. The author teaches English literature at the University of Dayton and in the late 1970s published science fiction of his own.
Tepper, Matthew B. Asimov Science Fiction Bibliography. Chinese Ducked Press, 1970. An early bibliography.
Wollheim, Donald A. The Universe Makers. New York: Harper & Row, 1971. A personal view of the development of science fiction by a pioneer author and editor, later a publisher, in which Asimov, and particularly his Foundation series, plays a key role, especially in establishing a consensus future history.
An Interview with Isaac Asimov
In April of 1979, upon the occasion of the Nebula Award weekend, I visited New York to interview Isaac Asimov in preparation for the writing of Isaac Asimov: The Foundations of Science Fiction, which was published by Oxford University Press in 1982. He took an hour away from his guest duties at a New York City science-fiction convention, held at a mid-town college or university, as I recall, and we had the following conversation in a large, otherwise deserted, downstairs lobby.
Gunn: When you write about your own writing you seem to be asking: how did it come to be so successful?
A.: Yes, you're perfectly right. To this day I don't know the steps by which it happened. The success of writers such as Bob Heinlein and van Vogt seemed easy to understand because from their first stories they were recognized as extremely good science-fiction writers, whereas I don't think in the case of my own first few stories there was any thought on the part of anybody, including myself, that I was a particularly good writer. I was a new writer and no one paid much attention to me. Even when "Nightfall" appeared, it didn't seem to me that it made much of a difference because it appeared in the same issue with stories by Heinlein that completely drowned it out.
Gunn: Throughout The Early Asimov and the other collections in which you added autobiographical notes as well as in the first volume of your autobiography, what makes all this concentration on Asimov and his writing tolerable is a note of delighted surprise that it ever came out that way.
A.: Yes, I'm still delighted and I'm still surprised.
Gunn: The question keeps coming up: how did it happen? And that's one thing I'm going to be writing about in my book about your science-fiction writing. I'm interested in treating your work as being not only the unique product of your own personality, but also a kind of expression of what science fiction was at the time, in the sense that what you wrote encapsulates what science fiction was concerned with.
A.: In a way, I suppose, I was the perfect foil for John Campbell. On the one hand I was close to him. I lived right in town and I could see him every week. And, for another, I could endure him. That is, I imagine that a great many other writers found him too rich for their blood at least to sit there and listen to him hour after hour. But I was fortunate in the sense that he was in some ways a lot like my father. (Laughter) And I had grown up listening to my father pontificate in much the same way that John did, and so I was quite at home. I suppose if you took all the time that I sat there listening to John and put it together, it was easily a week's worth of just listening to him talk. Day and night. 168 hours. And I remembered everything he said and how he thought and I did my best because I desperately wanted to sell stories to him to incorporate his method of thinking into my stories, which, of course, also had my method of thinking, with the result that somehow I caught the Campbell flavor.
Gunn: That's close to what I wrote in the third volume of The Road to Science Fiction. Each of the stories is preceded by biographical notes, and I commented about you, and I hope you don't feel it denigrating, that you were the quintessential Campbell writer. You were Campbell's kind of writer; whereas Heinlein, I felt, was always his own kind of writer who just happened for awhile to write things that coincided with what Campbell wanted.
A.: I think you're right. I think you're right. Certainly towards the end, Campbell would say things to me that led me to think that, too.
Gunn: Well, one thing I wrote was that the over-riding element of your fiction (there are a few places where it doesn't quite fit) is the search for answers the application of reason, rationality, to complex, puzzling situations. There is very little of the triumph of emotion over rationality. Or if it does, it is a kind of tragic circumstance. It is a happy circumstance when reason triumphs over emotion, or when people find a solution to whatever it is that bothers them.
