Zachary D. Carter notes that Edward Gibbon was writing from a moment of disillusion with the British project:
The first volume of his magnum opus was published in 1776, and the American Revolution had made clear to Gibbon that his nation was just as capable of decadent violence as ancient Rome had been. Throughout his four-volume masterpiece, Gibbon interrogates the roles of what we would now call structural forces in Roman society — religion, class, trade, technology, military and administrative capacity, ideology — each of which Asimov gives its own treatment as the dominant theme of a separate Foundation story. But Asimov was not writing amid an embarrassing American military defeat. He was writing instead as a Jewish immigrant enthusiastic about America’s belated entrance into the fight against fascism. Asimov’s Foundation stories are battles between good and evil, but the Galactic Empire is largely absent from them. Once Seldon has predicted its demise, the empire is of little use in Asimov’s narrative. Instead, he moves on to explore state formation, economic expansion, and outworlder alliances, in which the Foundation supplies the good guys and the bad guys want to destroy the Foundation. Asimov’s heroes are witty, clever, and forward-thinking; his villains are angry, violent, and beholden to tradition. Everything is a contest between reason and ignorance. Only the smartest people at the best university in the galaxy can get humanity out of its mess, using the best technology and the most sophisticated mathematics, which of course will eventually come to fruition as a new, benevolent, galaxy-spanning empire of reason.
This break with Gibbon’s history — which was fundamentally an examination of the follies of empire — turned out to be a stroke of commercial genius. Asimov’s themes were perfectly attuned to the technocratic American exceptionalism of the postwar years, when Americans enjoyed the fruits of a new empire while denying that their government’s political hegemony could be considered an empire at all. Asimov’s heroes looked and acted more like sci-fi’s readership than the square-jawed space cowboys of Thrilling Wonder Stories did. Asimov’s heroes were nerds, and reading his stories would eventually become a rite of passage for generations of freaks and geeks.











