I haven’t read much science fiction. Twenty years ago I read Isaac Asimov’s Foundation series of five books, the original trilogy and the next two. From time to time I would pick up a sci fi book and get through it, but never with enough interest to cause me to seek more by the author. Of course, a number of sci fi movies have caught my fancy.

As a writer, a sci fi series has been occupying a few gray cells. But as a non-reader of sci fi, I can’t really hope to write effective sci fi. That’s okay, because I’ve plenty of other novels and non-fiction books and ideas consuming other gray cells. Still, if this near future series keeps coming to the surface, maybe I should pay more attention to sci fi and develop more of an eye and ear for it.

So what did I find right with Children of Dune and with the Dune Trilogy I’ve now finished? One thing was the obvious borrowing from the Arabic language and the desert culture of the Middle East and Africa. Frank Herbert uses a few words straight from the Arabic in their actual meaning, such as hajj and jihad. Otherwise much of the language is similar to Arabic.

The development of a desert ecosystem on the planet Arrakis, a.k.a. Dune, was impressive. The importance of water and how the Fremen, the desert dwellers of Dune, use and preserve it was well done. For a Fremen to spit in welcome of a guest is a sign of respect. When 14-year old Paul Atreides killed his first man in hand-to-hand combat, he cried. The Fremen were impressed that he “gave water for the dead.” When a person dies, the body is rendered for the water because “His water belongs to the tribe.” All Fremen wear a stil suit, which prevents their water from escaping into the desert atmosphere. And they always take a fremkit into the desert with them.

But the most interesting part of the desert ecosystem is the sand worm, worshiped by Fremen as Shai H’lud. Water poisons the worms, but somehow they thrive in the arid lands and grow to enormous size, some the length of a football field with a mouth 10 yards wide. They are deadly, and are attracted to any rhythmic noise. The Fremen know this, and from childhood learn to walk in the desert in a non-rhythmic way and thus do not attract the worms.

Unless they want to. The worms live mostly underground and bore through the sand, but move at good speed. The Fremen have learned that, when the worm breeches the ground, you can crawl up on the worm and insert hooks under the worm’s segmental rings. The worm cannot “submerge” in the sand when their rings are separated. So they move on the surface, and a skilled Fremen can ride the worm for hours, directing it in any direction.

The worms make a spice called melange. I don’t know if this is a type of worm excrement, or if they make it in the way bees make honey. Indigo in color, it is some kind of narcotic. The Fremen mine it and consume so much of it their eyes turn light blue on dark blue. Somehow it is essential for space navigation, but the three books never explain exactly how. Is it also a fuel? Or is the money from the spice trade what finances space travel? I would have liked to have that explained. The spice is the reason Arrakis is a desired planet, and becomes the place of legends and smuggling.

In Children of Dune, much effort has been put into transforming the desert planet into a well-watered land, filled with flora and fauna. The effort has the effect of limiting the worms’ territory. Their population is shrinking, and they will be extinct within two centuries. No worms, no spice. No spice, no space travel. No spice, no value to Arrakis. Only Leto, the seven year old son of Paul Atreides seems to understand this. His quest to reverse this is an underlying theme of the book.

All of this takes significant development and creativity by the author. As I spend time on writers sites, it seems everyone is writing sci fi and its close cousin, fantasy. I think the idea is that no research is required, whereas it is in most other genres of fiction. But this seems wrong. The author of sci fi probably has more development time than does the writer of other genres. All the back story, all the unwritten centuries or millenia, must be in the author’s mind. Knowing how much to share in a book or a series is a difficult decision for the author.

And Herbert is certainly a master of all of this. I’ve been critical of him for not giving quite enough back story for my liking. And I’ve criticized his writing style, especially in the last of the trilogy. But I cannot fault his development of the fantasy world of times in the future. Very well done.

In an earlier post I mentioned I was not enjoying Children of Dune, the third in Frank Herbert’s Dune trilogy. Only 40 percent into it at that time, I was determined to finish it and hope either it got better or I came to like the style. I finished it today, and here’s the report: it didn’t, and I didn’t.

Dune, the original of the series, was a challenge due to its length and the large number of terms to learn. Dune Messiah was difficult due to introduction of situation that were never fully explained, as well as for some back story left out that would have been helpful. Children of Dune was difficult because of the seemingly unending internal thoughts/monologue and the under-explained “Golden Path” that is the obsession of Leto Atreides, child heir apparent to rule the empire.

I’ve no doubt that Frank Herbert knew exactly what he meant with all of the strange statements made by the various characters, but none of them did to me. Characters frequently interrupted the others during dialog, and the partial statements made no sense. Here’s a couple of examples.

But a coward, even a coward, might die bravely with nothing but a gesture. Where was that gesture which could make him whole once more? How could he awaken from trance and vision into the universe which Gurney demanded? Without that turning, without an awakening from aimless visions, he knew he could die in a prison of his own choosing.
…
His vision-shrouded eyes saw her as a creature out of humankind’s Terranic past: dark hair and pale skin, deep sockets which gave her blue-in-blue eyes a greenish cast. She possessed a small nose and a wide mouth above a sharp chin. And she was a living signal to him that the Bene Gessirit plan was known—or suspected—here in Jacurutu. So they hoped to revive Pharaonic Imperialism through him, did they?

The lack of context will make it difficult to appreciate these passages. They are representative of so much of the book. Lots of terms to understand. Lots of thoughts to process. Incomplete inferences to things you will never fully understand because they are never fully explained.

I could go on, but I think you will understand: I didn’t like the book. I won’t get rid of it. I’ll keep it so that I have the complete trilogy in hand. But I can’t recommend it. I’m sure Dune trilogy fans will regard this as sacrilege. But that’s my honest opinion.

I may be off-line at home, but not at work. That time AWOC (away without computer) last evening gave me time to work on my novel in progress, something I haven’t done in several months. It also gave me time to read twenty more pages in Children of Dune, the third in the Dune Trilogy, written by Frank Herbert. This was next in my reading pile, reshuffled to bring up fiction after reading several non-fiction works.

I had never heard of Dune or the Dune Trilogy or Frank Herbert until a couple of years ago, when my son gave me Dune as a birthday or Christmas gift. The size was daunting, and I didn’t start it for several months. It’s not as if I lack reading material. Plus, I don’t read much science fiction. When I finally did begin reading it, the many strange terms and the even stranger writing were a hindrance. I read Dune too long ago to review for this blog, but you can see my review of Dune Messiah here. In the meantime I had picked up the book Heroes of Dune, an interquel between the first two of the trilogy, written by Herbert’s son, and covering the twelve year gap in the Dune history. I elected to read Children of Dune ahead of Heroes of Dune, to stay in the order they were written, rather than chronological order of the saga.

I may be sorry I did. I’m finding Children of Dune very difficult reading. By now the strange terms are second nature to me. I understand Mu’ah Dib, Benne Gessert, Arrakis, Arrikeem, Shai Halud, mentat, melange, steich, and Kwisach Haderach on sight. I finally came to understand CHOAM a little better in this volume.

But the writing style! My goodness, it goes against everything you hear in writing classes nowadays. Endless pages of thoughts of Leto and Ghanima as they stand with their grandmother waiting for some event. Endless conversations of a feared conspiracy that will end the House of Atreides. Long descriptions of back story, worked in chapter by chapter. It’s downright boring!

Yet, this is a successful sci fi series. Who am I to question Herbert’s writing? He did the same thing in Dune, though I thought a little less in Dune Messiah. Now in Children of Dune he seems to have caricatured what he did in the first book. It’s been a couple of years since I’ve read it, but I don’t remember the internal monologues going on for this long, or being repeated chapter after chapter, with no break for real action.

In an early chapter, where Princess Jessica returns to the planet Dune after a long, self-imposed exile, her protective force fans out into the crowd ahead of her and somehow apprehend the dozen or so conspirators intending to take her life. But this action is under-written. One barely gets the sense that it is action by the words. Herbert did that in Dune as well, the constant downplaying of action in favor of thoughts, descriptions, and conversations.

As I say, the original book and the series were successful, and more books have been added by Herbert’s son than he himself wrote. But I have to say reading this is a struggle. I don’t know if I’m going to finish it or not. And that’s saying something. I always take the approach that if I’ve paid for it I finish it, to get my money’s worth. Even if it was thrift store money as this one was. I’m at page 153 out of 410. At 10 pages per weeknight and 30 per weekend night, I would finish it somewhere around October 18th. Do I really want to dedicate two more weeks of my reading life to this?

Yes, if I don’t finish it, and go on and read a couple more in the series, how will my growth as a writer be stunted? The series is successful. Perhaps it has something to teach me in terms of alternate writing styles, and widen my views of science fiction, of which I’ve read so little. I’ll probably muddle through it. But if something else comes to my attention, either on the reading pile or elsewhere among the books I’ll soon be putting back on shelves in the basement, I may just lay Children of Dune aside for a more opportune time.

Stay tuned.

I completed reading Frank Herbert’s Dune Messiah last Sunday, and planned to write my review and post it here by Wednesday, but the food poisoning that laid me low this week put writing far from my mind. Today is the first day I’ve had any desire to write or energy to do so.

I’ll be honest from the start: I did not enjoy this book. The first book in the trilogy, Dune, was good, my main complaint about it being length not content. This one, however, failed to deliver the punch that its predecessor did.

The book starts out with the antagonists, a curious cabal of four galactic misfits: a steersman, who is a fish-ish, manish creature who lives in a mobile, see-through tank of orange gas; a reverend mother of the Bene Gessaret; a “face dancer” of the Tleilaxu (today we’d call him a shape-shifter) of unknown motives; and Princess Irulan, wife of emperor Paul Atreides, the object of the conspiracy. Yes, the death of the emperor, who then had reigned about 16 years, and in whose name jihad was being waged across the galaxy by the Fremen of Arrakis, the planet nicknamed Dune. The goal: kill the emperor and end the jihad.

Paul, also known as Muad’dib, seemed powerless to stop the jihad on his own. In Dune he foresaw that it would happen, and that he couldn’t stop it. In Dune Messiah, these four decide to take matters into their own hands. They plan to kill Muad’dib with a psychological poison–at least I think. The meeting was for the purpose of convincing the princess, the daughter of the emperor Paul deposed, a spouse yet not loved nor a mate, to join the plot. She does so.

Paul knows a plot is afoot, yet seems to do little to stop it. He can’t quite see who the plotters are, and suspects only the reverend mother. When the steersman and face dancer come to Dune as part of a diplomatic mission, Paul doesn’t show any suspicion towards them. He constantly allows them in his presence, often loosely guarded. They introduce two other characters, a dwarf and [I forget who the other was], and Paul lets them in too.

The issue of Paul’s heir, and of a mate and an heir for his sister, Alia, is a major theme. Paul’s concubine, Chani, finally gets pregnant and they plan to go to the desert caves of the Fremen to have the child.

That’s all I’ll reveal of the plot. The writing is good, as it was in the first book. But the writing is strange. Much of it centers around Paul’s powers of prescient memory, and around how he is troubled by his own reign. This sort of thing get tiring after a while, and I had to fight the urge to skip major portions of the text.

I didn’t, though I can’t say I’m better for not having skipped it. While I can recommend Dune, I cannot recommend Dune Messiah–unless you were just so taken by Dune that you feel you won’t be able to live if you don’t read the full trilogy.