Reviews with content warning for Sexism - Dune

From the way people talk about Frank Herbert’s Dune, I thought that it was going to be super dry, confusing, and hyper-intellectual. I was surprised to find that it is pretty easy to get into and understand on the narrative level. If you’re not used to reading science fiction and fantasy, then it will probably seem intimidating and confusing at first, but otherwise, it’s not hard to get into. The intricate, thoughtful worldbuilding and political intrigue drew me into the story. I read through the first two parts of the book, watched the first part of Denis Villeneuve’s movie adaptation, and then finished the rest of the novel. In hindsight, that was a mistake. The movie so beautifully adapts the story, with its breathtaking and haunting visuals, minor changes to the plot and characters for improved storytelling and daring action. For instance, the movie transforms the book’s Baron character from a cheesy and cartoonish villain into an absolutely terrifying, creepy, and loathsome figure. After watching the movie, the book felt like a letdown.

Although on the whole I enjoyed Dune, both in terms of its plot and themes, there were aspects to the story that detracted from the experience. The supposedly deeply intelligent characters could be infuriatingly obtuse at times, to the point where I didn’t feel bad when they faced the inevitable negative consequences of their actions. This was part of my issue with Paul as a character, whose character arc is fascinating but underdeveloped. It’s not that I don’t understand how someone in his position could end up where he does at the end of the book, it’s that Herbert doesn’t spend enough time with Paul’s perspective to show that character development.

I don’t know about you, but if I were in Paul’s position, and I saw a strong potential future where I end up the figurehead of a violent genocide, I would do anything I possibly could to prevent it. Paul ends up doing the worst thing possible, which is to actively cultivate a position of a religious messiah with the Fremen, to the point where he cannot stop the jihad no matter what he does. Now, there could be any number of reasons he chooses this route. Perhaps he’s so driven by revenge for his father and his house that he puts concerns about the jihad on the back burner. Perhaps he ends up believing the messiah narrative himself, taking up the mantle of his position and believing in the cause of the jihad. Perhaps he cannot resist the lure of incredible power he gains by leading the Fremen. Or, perhaps, he’s just profoundly stupid, because I can think of a hundred different actions he could have taken to avoid the whole “jihad in my name” thing if that’s truly what he wanted to do.

I hate that Frank Herbert fails to explore the workings of Paul’s mind, leaving the audience to guess at the driving forces behind Paul’s actions.

The Run-Down:

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medium-paced

Plot- or character-driven? A mix
Strong character development? Yes
Loveable characters? It's complicated
Diverse cast of characters? Yes
Flaws of characters a main focus? It's complicated

4.5

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alexiconic's review against another edition

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adventurous challenging mysterious medium-paced

Plot- or character-driven? Plot
Strong character development? No
Loveable characters? No
Diverse cast of characters? It's complicated
Flaws of characters a main focus? Yes

3.0

The danger with reading a book that inspired many other, newer stories, is that the original just doesn’t seem as revolutionary anymore. I am not the biggest sci-fi fan so my thoughts might be biased by a whole “I’m not super into space” attitude, to be fair.

Dune had things that were absolutely great. It’s clearly a well thought-through world, the environment and the history are very well constructed and it works well. We enter a world where it’s clear the author knows what is what. The mystical elements of the Bene Gesserit, the planet’s ecology, the political factions and their motivations: these are solids.

I’m a bit in the middle on the writing. Having switching POVs and a kind of omniscient narrative is not that popular anymore, and it took some getting used to. But I ended up appreciating it. I didn’t really enjoy the time jump midway in the book: it removed too much buildup and context, and Dune was already going to be a long, long book, which would have been better if we had a little more insight in the “between” period.

What really let the book down for me were the characters. Most weren’t very fleshed out, and while that was the point to a certain extent, it also lessened the impact. I truly didn’t understand why Paul was this great charismatic leader, for example. There were also some tensions in the characters goals:

if Paul wants to stop the jihad, why would this pretty smart dude not consult his mother, who we know is also quite smart? Why would he still surround himself with the exact conditions that make a jihad likely?

And then there are the let downs on the few characters that bring some diversity to the book, especially Jessica and Chani.

They are women, and the book treats them as though they would therefore be perfectly happy taking a side-kick role while the others (the men) are glorious - and really, is being reduced to “mother” and “concubine who maybe if she’s lucky gets to be a wife” even side-kick level? It’s a shame because we see glimpses of these women being incredible, knowledgeable, strong, and well-respected, and the roles they have are in strong tension to these glimpses of power and competence. And then there’s the Harkonnens, who should be evil and fearsome. The Barons portrayal as a gluttonous ruler with a preference for young boys is… less than great. The insistence on this factor and his posture to make the reader disgusted with him doesn’t work out great. His homosexuality is completely irrelevant, and making your villain the only gay (and coincidentally also a pedophilic) character reeks of rather uncomfortable homophobia. His posture is almost a joke. And the worst thing is that it’s discrediting to the great work Herbert does on establishing the Baron as a nefarious, well-planning political actor. The nephew also suffers from the time jump, which makes him transform from a petulant child to a fearsome fighter with some wits in two pages; a shame, because he’s a rather intriguing character.

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