Dune by: Frank Herbert

 

Dune is a novel who’s influence can be felt in nearly every piece of science fiction written after its initial publishing date of 1965.  Frank Herbert’s book combines two previously published serials, rewritten and reedited into book form: Dune World and The Prophet of Dune, and published by the publisher of manuals for automobiles.  It’s a book with an odd origin from an author who is equally as odd.  Herbert lived his early life in poverty and became inspired by sand dunes in Oregon to create Dune, imbuing it and his other writings with his political and personal philosophy against the selfishness of the human race, taking up causes, rightfully, against the United States government during the second Red Scare and the Vietnam War.  He was clearly a man appalled by the way he saw the world turning, and put that in his writing, writing which would resonate with the world.  Dune as a work is both incredibly simple and incredibly complex: the story is mostly a standard tale of a royal house being overthrown and retaliating after a period of time to plan and recover themselves, building an army.  It’s almost deceptively simple, but it’s a long novel as Herbert puts into every word, every scene takes on some sort of double meaning.  Books could be written on what Herbert does in this book and without a doubt they most likely exist or will exist.  The experience of reading Dune alone can put it in a class of its own, even if the engagement is one complex.

 

The first scene of the novel involves the young Paul Atredies being tested by a Reverend Mother of the Bene Gesserit sisterhood.  This test is where one of the book’s most famous and important lines appears: “I must not fear.  Fear is the mind killer.  Fear is the little death that brings total obliteration”.  These three simple sentences introduce a major importance for Herbert, the idea of action and overcoming the fear of action and change being what humanity is all about.  Herbert is cynical, making the distinction between people and humans.  While perhaps pithy, to describe the view of people would involve the sneering idea of sheep being led through their lives as the victims of other people, while humans are the ones who dare to act and rise above.  This premise is flawed, as Herbert simplifies the argument to people only having one-dimension which doesn’t actually apply.  It doesn’t attempt to look at the societal problems which create the kind of fear that Herbert implies is the little death, just acting as if people cannot live for themselves.  It’s so he can set up the messianic nature of Paul for the Fremen later on which is something where while personal feelings may find distaste, the cynicism still finds a way to resonate through the plot in tandem with some optimism that the great evil still can be overthrown.  Now, the messianic nature of Paul may be Herbert’s attempt to justify the nature of just one man being able to change the world which would be a hopeful message, though it isn’t the actions of just one man.  Paul is not the one who saves the day, it’s his entire family working together even without contact or communication once the house falls that end up bringing the positive outcome.

 

Herbert also doesn’t allow his cynicism to cloud ideas of love.  There are two principal couples in the book, first Duke Leto and Lady Jessica (Paul’s parents), and eventually Paul and Chani.  The traitor to House Atredies, Dr. Yueh, is only motivated by love and ensures that those in love can actually survive, even if it is something that he will not make it out of alive.  Leto and Jessica are one of the few couples in science fiction who are happy together, even if marriage was always impossible.  Lady Jessica at every turn is motivated by the love for Leto and then the love of her son, Paul, above even the orders of the sisterhood which have one goal of manipulating and creating prophecy throughout the universe.  While Leto is a minor character throughout, Lady Jessica is a fascinating study in the love of a wife and mother and is a morally complex character.  She is manipulative, but never abusive.  She goes through several points where she is the one making mistakes and eventually has to acknowledge them and rise above them.  Her character arc hits its high point at the end of the second part of the novel, where she takes on more responsibilities, becoming a Reverend Mother.  She is the one who has to take quite a bit of time to actually figure things out.

 

The idea of inspiration of good people to cause others to do good is also present in the book.  As mentioned previously, Dr. Yueh is a traitor, but only motivated by a desire to see good happen even if the ends have to justify the means.  The character of Liet Kynes is introduced as a man who scoffs at authority, but almost immediately respects Duke Leto and has second guesses of his part in the conspiracy to take down House Atredies while the villains essentially rule through fear.  House Harkonnen is represented by the Baron Vladimir Harkonnen, who is perhaps the one aspect of the book which has not aged.  The Baron is a pedophile and homosexual, perpetuating that stereotype, though you’re never actually given any scenes of sexual acts.  There’s also the incest element and cruelty which makes him as a villain fascinating, but not easy to actually read about.  The cutting to him really only works after the first part when he is used to advance some of the plots of the minor and supporting characters.  There is also some amazing worldbuilding and Herbert’s prose is excellent, however, the confusion of the philosophy and plot is where Dune really makes me think.  It’s a book which will stay with the reader for a long time after you finish.  It’s a read which feels both complimentary and contradictory, and ends with several questions about just what was being accomplished while that accomplishment remains satisfactory.  10/10.