"Dune" Endures

As the temperature in California’s Death Valley climbed toward a hundred and thirty degrees recently, I had a vision of giant sandworms erupting from the desert floor and swallowing up the tourists and news media gathered around the thermometer at the National Park Service ranger station. The worms I had in mind sprang first from the imagination of Frank Herbert, and they have, over the past half century, burrowed their way into the heads of anyone who has read his science-fiction classic, “Dune.” Set on a desert planet named Arrakis that is the sole source of the universe’s most valued substance, “Dune” is an epic of political betrayal, ecological brinkmanship, and messianic deliverance. It won science fiction’s highest awards—the Hugo and the Nebula—and went on to sell more than twelve million copies during Herbert’s lifetime. As recently as last year, it was named the top science-fiction novel of all time in a Wired reader’s poll.

As David Itzkoff noted in 2006, what’s curious about “Dune” ’s stature is that it has not penetrated popular culture in the way that “The Lord of the Rings” and “Star Wars” have. There are no “Dune” conventions. Catchphrases from the book have not entered the language. Nevertheless, the novel has produced a cottage industry of sequels, prequels, and spin-offs, the production of which only accelerated after Herbert’s death in 1986. There are now eighteen novels in the “Dune” chronicles, not to mention screen adaptations, comic books, and countless board, video, and role-play games. The conversion of “Dune” into a franchise, while pleasing readers and earning royalties for the Herbert estate, has gone a long way toward obscuring the power of the original novel. (I gave up after the fourth installment, “God Emperor of Dune.”) With daily reminders of the intensifying effects of global warming, the spectre of a worldwide water shortage, and continued political upheaval in the oil-rich Middle East, it is possible that “Dune” is even more relevant now than when it was first published. If you haven’t read it lately, it’s worth a return visit. If you’ve never read it, you should find time to. (...)

Perhaps one explanation for “Dune” ’s lack of true fandom among science-fiction fans is the absence from its pages of two staples of the genre: robots and computers. This is not an oversight on Herbert’s part but, rather, a clever authorial decision. Centuries before the events described in the novel, humans revolted and destroyed all thinking machines. “The god of machine-logic was overthrown,” Herbert writes in an appendix, “and a new concept was raised: ‘Man may not be replaced.’ ” This watershed moment, known as the Butlerian Jihad, resulted in a spiritual awakening, which put into place the religious structures that ultimately produce the messiah, Paul Atreides. There is no Internet in Herbert’s universe, no WikiLeaks, no cyber war. This de-emphasis on technology throws the focus back on people. It also allows for the presence of a religious mysticism uncommon in science fiction. It’s a future that some readers may find preferable to our own gadget-obsessed present.

by Jon Michaud, New Yorker |  Read more:

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