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Isaac Asimov

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This classic collection includes the title story, acclaimed as Asimov's single finest Robot tale, and now made into a Hollywood movie starring Robin Williams. Each of the eleven stories here sparkle with characteristic Asimov inventiveness and imagination.

The NDR series robot "Andrew" is introduced in 2005 into the Martin family home to perform housekeeping and maintenance duties, and introduces himself by showing a presentation of the Three Laws of Robotics. The younger Amanda is sympathetic to him, and Andrew discovers he feels emotions, and is drawn to spend more time with his "Little Miss". He accidentally breaks one of her glass figurines and is able to carve a new one out of wood, which surprises Richard, her father. Richard takes Andrew to NorthAm Robotics to inquire if Andrew's creativity was part of his programming. NorthAm's CEO Dennis Mansky claims this is a problem and offers to scrap Andrew, but instead Richard takes Andrew back home and encourages him to continue his creativity and explore other humanities. Andrew becomes a clockmaker and earns a sizable fortune managed by Richard after they find that robots have no rights under current laws. Time passes, and Richard encourages Dennis to give Andrew the ability to present facial expressions to match his emotions. About two decades from being awoken, Andrew presents Richard with all the money he has made to ask for his freedom. Richard refuses to accept it but does grant Andrew his independence, on the condition he may no longer reside at the Martin home. Andrew builds his own home by the beach. In 2048, Richard is on his death bed, and apologizes to Andrew for banishing him before he dies. Following Richard's death, Andrew goes on a quest to find other NDR robots that are like him, frequently communicating back to Amanda, who has since married and divorced, and has a son Lloyd and granddaughter Portia. Twenty years into Andrew's quest, he discovers Galatea, an NDR robot that has been modified with female personality and traits. Andrew becomes interested in how Galatea was modified by Rupert Burns, the son of the original NDR designer, and finds he has a number of potential ideas to help make robots appear more human-like. Andrew agrees to fund Rupert's work and to be a test subject, and is soon given a human-like appearance. Twenty years later, Andrew finally returns to the Martin home and finds that Amanda has grown old while Portia looks much like her grandmother at her age. Portia is initially cautious of Andrew, but soon accepts him as part of the Martin family. Amanda eventually dies, and Andrew realizes that all those he cares for will also pass on. He presents ideas to Rupert to create artificial organs that not only can be used in humans to prolong their lives but also to replace Andrew's mechanical workings. Andrew gains the ability to eat, feel emotions and sensations, and even have sexual relationships, resulting in him and Portia falling in love. Andrew petitions the World Congress to recognize him as a human as to allow him to marry Portia, but the body expresses concern that an immortal human will cause jealousy from others. Andrew returns to Rupert for one last operation: to change the artificial fluids driving his body into a blood equivalent. Rupert cautions him that the blood will not last forever, causing his body to age, and Andrew will die in several more decades, a fate Andrew accepts. Decades later, Andrew again approaches the World Congress to appeal their past decision, wanting to be able to die with dignity. Later, with Andrew's body deteriorating, he and Portia are both under life support monitored by Galatea, now with a human appearance. They hold hands and watch the World Congress as they recognize Andrew as a human being, the world's oldest at 200 years, and giving all rights confirmed by that, including validating his marriage to Portia. During the broadcast, Andrew passes away, confirmed by Galatea. Portia asserts that Andrew already knew the answer to whether he was human and then, after ordering Galatea to turn off her life support, she soon dies, hand-in-hand with Andrew

Here I am with another collection of science fiction stories, and I sit here and think, with more than a little astonishment, that I have been writing and publishing science fiction now for just three-eighths of a century. This isn’t bad for someone who only admits to being in his late youth-or a little over thirty, if pinned down. It seems longer than that, I imagine, to most people who have tried to follow me from book to book and from field to field. As the flood of words continues year after year with no visible signs of letting up, the most peculiar misapprehensions naturally arise. Just a few weeks ago, for instance, I was at a librarian’s convention signing books, and some of the kindly remarks I received were:

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“I can’t believe you’re still alive!” “But how can you possibly look so young?”

“Are you really only one person?”

It goes even beyond that. In a review of one of my books [ASIMOV ON CHEMISTRY (Doubleday, 1974), and it was a very favorable review.] in the December 1975 Scientific American, I was described as:

“Once a Boston biochemist, now label and linchpin of a New York corporate authorship--” Dear me! Corporate authorship Merely the linchpin and label?

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