Foundation

Asimov’s writing style is simple and direct. He described of his own work that he had “one cardinal rule in all my writing—to be clear. I have given up all thought of writing poetically or symbolically or experimentally, or in any of the other modes that might (if I were good enough) get me a Pulitzer prize. I would write merely clearly and in this way establish a warm relationship between myself and my readers […]” (Asimov, Isaac. “Author’s Note.” Nemesis, Doubleday, 1989.)

The result is that, in Foundation, description is spare and the plot advances mainly through dialogue. Characters are lightly sketched physically, especially the heroes: Hober Mallow, for example, is “large, both in height and bulk” (202). Antagonists receive more attention, by way of suggesting their unique styles of wickedness. A glance at Commdora Licia, for example, shows that “Her face was pale and coldly formed and her black hair was drawn smoothly and tightly back. Her voice was tart […]” (194). That quick description contains a great deal: The reader understands at once that the woman is proud, elegant, severe, and likely dangerous.

Places and things, meanwhile, receive quick treatment. A ballroom on Anacreon contains a crowd of people, large windows, a chandelier, and a throne that floats. Spaceships lack nearly all description except for size: One vessel’s “cubic capacity is half again that of the entire Anacreonian navy” (99), but, even when the story goes inside the ship, its interior remains undescribed. Many planets possess the nuclear power plants and religious temples of the Foundation, but none are noted in any detail. The headquarters of the Foundation receive barely a mention.

This narrative strategy prioritizes plot, even as it emerges largely from the dialogue. Instead of simply telling what happens, the author puts much of the action into the mouths of his characters as they argue or make plans, similar to the strategies of dramatic writing, which cannot rely on narration for exposition. Characters describe what they have witnessed, what they believe will happen next, and what they plan to do about it. Sometimes they offer their theories about politics, history, and civilization: These permit the author to include his own ideas without interrupting the action of story with philosophical narration.