
First published in 1965, Dune has become one of the most influential Sci-Fi novels ever written, spawning multiple adaptations and a long-lasting franchise.
Set in a distant future, where interstellar travel and feudalism dominate the universe, the story follows Paul Atreides, a young noble thrust into the political and ecological complexities of the desert planet Arrakis, also known as Dune. Arrakis is the only source of ‘spice,’ a rare and valuable substance (produced by the gigantic ‘sandworms’) that enhances mental abilities and facilitates interstellar travel, making it the most coveted resource in the galaxy.
After House Atreides takes control of Arrakis, Paul’s family is betrayed by their enemies, the ruthless House Harkonnen, leading to the murder of his father, Duke Leto Atreides. Paul and his mother, Lady Jessica, flee into the desert, where they find refuge with the Fremen, a group of indigenous desert dwellers. Paul emerges as a prophesied messianic figure who might lead the Fremen to victory over their oppressors.
As Paul embraces his destiny, he gains the ability to foresee the future, setting the stage for an epic battle over control of Arrakis and the future of the universe. Themes of power, religion, environmentalism, and human evolution run deep through the novel, making it a timeless exploration of the complexities of leadership and survival.
Dune’s complex worldbuilding resembles Isaac Asimov’s Foundation (see this post). Each chapter’s heading relays essential background information.
However, the series’ first novel is much more extended than the whole Foundation (original) trilogy, so Herbert had more narrative space than Asimov to introduce subtle details.
Here are a few examples:
From Chapter 1:
[…] And take the most special care that you locate Muad’Dib (Paul Atreides’ new name after he becomes the Fremen’s Messiah) in his place: the planet Arrakis. […] Arrakis, the planet known as Dune, is forever his place.
From Princess Irulan’s The Manual of Muad’Dib.
The story’s primary location is the arid planet Arrakis, a.k.a. Dune. To paraphrase the ancient Romans: nomen omen, the destiny is in the name. In other words, one can already guess that the planet’s environment will be as crucial to the plot as the human characters.
From Chapter 5:
YUEH […], Wellington […], Stdrd 10,082 — 10,191; medical doctor of the Suk School […].
From Princess Irulan’s Dictionary of Muad’Dib.
The ‘Stdrd’ attribute, short for ‘Standard,’ is commonly used in Sci-Fi novels to describe lengths of time. The length of the year on Earth (365 days) is not the same as, for example, on Mars (1.88 Earth-years) or Venus (224.7 Earth-days). Dune’s universe extends over numerous worlds, each with its own revolution period around the parent star. Thus, to report Dr. Yueh’s age in a relatable way, Herbert had to translate it into Earth-units.
From Chapter 7:
[…] With Lady Jessica and Arrakis, the Bene Gesserit system of sowing implant legends through the Missionaria Protectiva came to fruition. The wisdom of seeding the known universe with a profecy pattern for protecting the Bene Gesserit personnel has long been appreciated, but never have we seen a condition-ut-extremis with more ideal mating of person and preparation. […]
From Princess Irulan’s Analysis: The Arrakeen Crisis.
The Bene Gesserit order is probably George Lucas’s inspiration for the Jedi order of Star Wars. Like the Jedi Masters, the Bene Gesserit use powerful mental techniques, developed through years of hard training, to engineer Galactic politics according to their plan. For example, one of their purposes is to genetically select the mythical figure known as Kwisatz Haderach. A similar plot device occurs in The Phantom Menace, the first episode of the Star Wars saga. The main storyline has the Jedi Master Qui-Gon Jinn and his apprentice Obi-Wan Kenobi chance upon a boy who might be the ‘Chosen One.’ In other words, a Galactic Messiah.
From Chapter 13:
On the first day when Muad’Dib rode through the streets of Arrakeen with his family, some of the people along the way recalled the legends and the profecy and they ventured to shout: “Mahdi!”. But their shout was more a question than a statement, for as yet they could only hope he was the one foretold as the Lisan al-Gaib, the Voice from the Outer World. […]
From Princess Irulan’s The Manual of Muad’Dib.
The author intends again to convey the significance of Paul Muad’Dib’s character. The people of Arrakis call him Mahdi, a strongly messianic title. Indeed, Mahdi isn’t a fantasy name but belongs to a religious figure of Islam. According to some Muslim traditions, the Mahdi will show up to deliver the world from evil and injustice in the Last Days. Historically, various individuals have claimed to be or were proclaimed the Mahdi. Among them was Muhammad Ahmad, the religious leader who established the Mahdist State in Sudan in the late 19th century and obtained a famous victory over the British in the siege of Khartoum.
Frank Herbert’s Dune is widely regarded as a masterpiece, and for good reason. Its intricate worldbuilding, complex characters, and exploration of political, ecological, and religious themes elevate it beyond the confines of traditional genre fiction. However, the novel is not without its challenges and controversies.
One of the novel’s greatest strengths lies in its detailed and immersive universe. Herbert masterfully constructs the planet Arrakis and its harsh desert environment, where water is more precious than gold, and survival depends on understanding its ecology. The idea of a resource-driven conflict, with the “spice” as a metaphor for oil or other real-world commodities, resonates deeply, especially in an age of environmental crises.
Paul Muad’Dib is both compelling and flawed. His journey from a young noble to a messianic figure reflects the dangers of power and the high cost of destiny. Herbert’s critique of hero worship and exploration of charismatic leadership’s consequences feels remarkably prescient.
However, some readers find the pacing uneven. The novel’s first part is slow, laden with intricate political maneuvering and dense exposition, making it challenging to engage with initially. Additionally, some critics argue that Herbert’s portrayal of gender roles and imperialist themes, while reflective of his time, may feel dated and problematic for modern audiences. The character of Lady Jessica, while strong, often serves as a tool for advancing Paul’s journey rather than being fully realized in her own right.
The Fremen, the indigenous people of Arrakis, are also sometimes critiqued as exoticized ‘noble savages,’ a trope that draws uncomfortable parallels to Western colonial narratives. Nevertheless, Herbert does give them agency and importance in the narrative, which balances some of the criticisms.
In conclusion, Dune is a monumental work that blends philosophy, politics, and Sci-Fi in an ambitious narrative. Its richly layered themes still provoke thought and debate today, but its dense prose and occasional reliance on outdated tropes can be stumbling blocks for contemporary readers. Despite these flaws, the novel’s impact on the genre and literature remains undeniable.
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