A review by jessdrafahl
Dune, by Frank Herbert
adventurous
challenging
slow-paced
- Plot- or character-driven? A mix
- Strong character development? Yes
- Loveable characters? It's complicated
- Diverse cast of characters? It's complicated
- Flaws of characters a main focus? Yes
5.0
As I have now read Dune for the first time, I am now prepared to make this novel my personality for the next few weeks.
What is there to say about Dune besides the fact that it is a masterpiece in the twining of a universe of conflict, ideology, and science. It is no wonder that this novel is a master class in the realm of science fiction, defining what we perceive as Sci-Fi today. The genre has come a great distance from the imagination of Mary Shelley's Frankenstein, spanning from the idea of the replicated man to the expansive universe of Dune's Bene Gesserits, Arrakian ecology, and detailed tribal and commodified religion. Brian Herbert's introduction to this beautiful edition of Dune preludes the novel with the idea that it could be read many times over with a different focus. This is true, as easily one could see the detail of the climate and ecology. Religion, too, is heavily imprinted into the tone and themes of this novel. Science itself can be examined with the barely-mentioned historical uprising of artificial intelligence (perhaps hinting upon the origin of the genre). The topic of imperialism and its effect upon humanity was the route that I thought that I would take upon my reading of Dune, but that was not in fact the case. Instead, my focus came unto the relationships of Paul and what those relationships say about his character.
Since I have been listening to it through my reading, I only think it fair to include my interpretations of Hans Zimmer's rendition of the novel through Paul's Dream:
0:00 The light tapping of the keys at the beginning of the piece suggest a tranquility. This is Caladan before Arrakis was given to House Atreides.
0:10 A deep underlay. Arrakis awaits.
0:28 Whispers and a slight violin. Arrakis speaks to Paul. He sees it in his dreams. Chani speaks to him of his home planet.
1:41 A mournful theme begins. Caladan is left behind.
1:52 Just as soon as the mournful theme begins, the motif of Arrakis is louder. It is the now, and there is no time to mourn.
2:30 The tempo increases. A danger is present that was unthinkable on Caladan. It exists within Arrakis. It is part of Dune.
3:12 Another instrument enters, its name unknown to me. It is higher pitched and exists above the planet. The Empire interferes with the planet Arrakis.
4:30 Silence. The desert planet is open to Paul and Lady Jessica with no certainty. Death seems imminent.
4:48 A voice awakens the piece. It is the strongest of the piece so far: the Fremen. It is clear that this is their song; their planet. Paul and Lady Jessica join them.
4:57 Drums, a instrument that booms deep, suggesting the deepness of the tribe in the desert. This is their song now.
6:46 The drums continue on their own, although there is no other instrument to accompany it. Everything is gone except for the Fremen.
What is there to say about Dune besides the fact that it is a masterpiece in the twining of a universe of conflict, ideology, and science. It is no wonder that this novel is a master class in the realm of science fiction, defining what we perceive as Sci-Fi today. The genre has come a great distance from the imagination of Mary Shelley's Frankenstein, spanning from the idea of the replicated man to the expansive universe of Dune's Bene Gesserits, Arrakian ecology, and detailed tribal and commodified religion. Brian Herbert's introduction to this beautiful edition of Dune preludes the novel with the idea that it could be read many times over with a different focus. This is true, as easily one could see the detail of the climate and ecology. Religion, too, is heavily imprinted into the tone and themes of this novel. Science itself can be examined with the barely-mentioned historical uprising of artificial intelligence (perhaps hinting upon the origin of the genre). The topic of imperialism and its effect upon humanity was the route that I thought that I would take upon my reading of Dune, but that was not in fact the case. Instead, my focus came unto the relationships of Paul and what those relationships say about his character.
Spoiler
In the third book of the novel, The Prophet, and unsettling two years have passed since the reader has glimpsed into the workings of Paul-Muad'dib and the many parasitic forces upon the desert planet Arrakis. This third act of the book strains the reader to accept Paul's love for his concubine, Chani. A relationship built upon a love that the reader seldom is able to see. With this in addition to Paul's dislike towards his mother, the Lady Jessica, it seems hard to believe that he is even capable of such a love, as he was even unable to mourn for his father shortly after his death. I was ready to critique this part of the novel until I saw the truth and point to it. Paul, who was nearly entirely innocent at the beginning of the novel, has slowly been poisoned by the planet Arrakis. While he believes it to be the spice, melange, that traps him and poisons his mind, it is something else entirely: power. As Paul-Muad'dib acquires more and more power upon the planet, he loses his humanity - something the Reverend Mother once gave him. Upon with it, he loses the love and compassion that House Atreides once revered as their greatest asset. It becomes clear how little other people mean to Paul-Muad'dib in the last few pages of the novel, in which he and Lady Jessica assure Chani that she shall be Paul's one true woman. They mock the Princess Irulan for her love of reading, for it will be the one thing that she may have for the rest of her life. Their cruelty towards the woman who in herself has shared her fair share of scorn and unlove is like a stab to the heart, as through the novel it is she who guides the reader through the two years of the becoming of the prophet Muad'dib. In her writings, told through many novels, it was clear the entire time of her admiration towards Paul. It was she who collected his life and his times, and yet her scorn and the cruelty towards her such that Chani may feel some sense of assurance seems as though it was meant for the reader to be assured of the good nature of Paul Muad'dib. Instead, I sensed dread at the man who would so easily toss aside one's life for a shot at power. I understand that in further novels, Frank Herbert was more clear about his own scorn of Paul and berated the ideology that Paul himself was afraid of - the lonely man who has no human friends, but only worshipping creatures around him. However, as I have yet to read any further novels, I cannot be sure on how that plays into my understanding of this novel.Since I have been listening to it through my reading, I only think it fair to include my interpretations of Hans Zimmer's rendition of the novel through Paul's Dream:
0:00 The light tapping of the keys at the beginning of the piece suggest a tranquility. This is Caladan before Arrakis was given to House Atreides.
0:10 A deep underlay. Arrakis awaits.
0:28 Whispers and a slight violin. Arrakis speaks to Paul. He sees it in his dreams. Chani speaks to him of his home planet.
1:41 A mournful theme begins. Caladan is left behind.
1:52 Just as soon as the mournful theme begins, the motif of Arrakis is louder. It is the now, and there is no time to mourn.
2:30 The tempo increases. A danger is present that was unthinkable on Caladan. It exists within Arrakis. It is part of Dune.
3:12 Another instrument enters, its name unknown to me. It is higher pitched and exists above the planet. The Empire interferes with the planet Arrakis.
4:30 Silence. The desert planet is open to Paul and Lady Jessica with no certainty. Death seems imminent.
4:48 A voice awakens the piece. It is the strongest of the piece so far: the Fremen. It is clear that this is their song; their planet. Paul and Lady Jessica join them.
4:57 Drums, a instrument that booms deep, suggesting the deepness of the tribe in the desert. This is their song now.
6:46 The drums continue on their own, although there is no other instrument to accompany it. Everything is gone except for the Fremen.
Content Warnings
Minor: Rape