Dune (novel)

Dune is a 1965 science fiction novel by American author Frank Herbert, originally
Dune
published as two separate serials in Analog magazine. It tied with Roger Zelazny's
This Immortal for the Hugo Award in 1966,[3] and it won the inaugural Nebula
Award for Best Novel.[4] It is the first installment of the Dune saga, and in 2003 was
[5][6]
cited as the world's best-selling science fiction novel.

Set in the distant future amidst a feudal interstellar society in which noble houses, in
control of individual planets, owe allegiance to the Padishah Emperor, Dune tells the
story of young Paul Atreides, whose noble family accepts the stewardship of the
desert planet Arrakis. As this planet is the only source of the oracular spice melange,
the most important and valuable substance in the universe, control of Arrakis is a
coveted—and dangerous—undertaking. The story explores the multi-layered
interactions of politics, religion, ecology, technology, and human emotion, as the
factions of the empire confront each other in a struggle for the control of Arrakis and
its spice.[7]

Herbert wrote five sequels: Dune Messiah, Children of Dune, God Emperor of Dune,
Heretics of Dune, and Chapterhouse: Dune. The first novel also inspired a 1984 film First edition cover
adaptation by David Lynch, the 2000 Sci-Fi Channel miniseries Frank Herbert's
Author Frank Herbert
Dune and its 2003 sequel Frank Herbert's Children of Dune (which combines the
events of Dune Messiah and Children of Dune), computer games, several board
Audio read by Scott Brick
games, songs, and a series of followups, including prequels and sequels, that were Orlagh Cassidy
co-written by Kevin J. Anderson and the author's son, Brian Herbert, starting in Ilyana Kadushin
1999.[8]
Euan Morton

Since 2009, the names of planets from the Dune novels have been adopted for the Simon Vance
real-life nomenclature of plains and other features onSaturn's moon Titan.[9][10][11] Cover artist John Schoenherr
Country United States
Language English

Contents Series Dune series

Genre Soft science
Origins
fiction[1][2]
Synopsis
Characters
Published August 1, 1965

Analysis Publisher Chilton Books

Environmentalism and ecology Media type Print (hardcover &
Declining empires
paperback)
Middle Eastern references
Gender dynamics Pages 412
Heroism Followed by Dune Messiah
Zen
Reception
Portrayal of gender and sexuality
First edition prints and manuscripts
Adaptations
Early stalled attempts
 1984 film by David Lynch
2000 miniseries by John Harrison
Further film attempts
Audiobook
Cultural influence
Music
Games
Space exploration
See also
References
Further reading
External links

Origins
After his novel The Dragon in the Sea was published in 1957, Herbert traveled to
Florence, Oregon, at the north end of the Oregon Dunes. Here, the United States
Department of Agriculture was attempting to use poverty grasses to stabilize the
sand dunes. Herbert claimed in a letter to his literary agent, Lurton Blassingame,
that the moving dunes could "swallow whole cities, lakes, rivers, highways."[12]
Herbert's article on the dunes, "They Stopped the Moving Sands", was never
completed – and only published decades later in The Road to Dune – but its
research sparked Herbert's interest in ecology
.

Herbert spent the next five years researching, writing, and revising. He published
The Oregon Dunes, near Florence,
a three-part serial Dune World in the monthly Analog, from December 1963 to Oregon, served as an inspiration for the
February 1964. The serial was accompanied by several illustrations that were not Dune saga.
published again. After an interval of a year, he published the much slower-paced
five-part The Prophet of Dune in the January – May 1965 issues.[13][14] (The first
serial became part one of the volume, and the second was divided into parts two and three.) The serialized version was expanded,
reworked, and submitted to more than twenty publishers, each of whom rejected it. The novel, Dune, was finally accepted and
published in August 1965 byChilton Books, a printing house better known for publishing auto repair manuals.

Herbert dedicated his work "to the people whose labors go beyond ideas into the realm of 'real materials'—to the dry-land ecologists,
wherever they may be, in whatever time they work, this ef
fort at prediction is dedicated in humility and admiration."

Synopsis
In the far future, humanity has eschewed advanced computers in favor of adapting their minds to be capable of extremely complex
tasks. Much of this is enabled by the spice melange, which is only found on Arrakis, a desert planet with giant sandworms as its
native lifeform. Melange improves general health, extends life and can bestow limited prescience, and its rarity makes it a form of
currency in the interstellar empire. Melange allows the Spacing Guild's Navigators to safely route faster-than-light travel between
planets, and helps the Reverend Mothers of the matriarchal Bene Gesserit to access their Other Memory, the ego and experiences of
their female ancestors.

As the novel opens, each planet is ruled by a Great House that owes allegiance to the Padishah Emperor Shaddam IV. The Emperor
suspects that Duke Leto Atreides of House Atreides has become a potential challenger to his throne as Leto gains favor with other
Great Houses in the Landsraad. The Emperor seeks the downfall of House Atreides by assigning them control of Arrakis, currently
ruled by Baron Vladimir Harkonnen of House Harkonnen. The Atreides and Harkonnen houses have had a generations-long feud,
and the Emperor secretly plots with the Baron to attack House Atreides after its move to Arrakis. While masking his involvement in
the Baron's attack, the Emperor plans to drive it home with some of his elite
Sardaukar stormtroopers in disguise.

Leto Atreides, on hearing of this new assignment, realizes that there must be a trap, but the opportunity is too valuable to decline. He
arranges his trusted advisors, including Swordmaster Duncan Idaho, Mentat Thufir Hawat, Suk doctor Wellington Yueh, and
troubadour-soldier Gurney Halleck, to prepare for any eventuality. Meanwhile, Reverend Mother Mohiam accuses Leto's concubine,
the Bene Gesserit Lady Jessica, of defying their secret centuries-long breeding program, aimed to produce a male Bene Gesserit they
call the Kwisatz Haderach, who would have oracular powers to see throughout time and space. Jessica had been ordered to produce a
daughter to continue the program, but out of love for Leto she had given him a son, Paul Atreides. Jessica has since trained Paul in
the Bene Gesserit ways, and Mohiam is reluctantly impressed by the boy
.

House Atreides takes control of Arrakis, finding traps left by the Harkonnens in the palace. Leto quickly makes political ties with the
native Fremen, nomadic tribes that have adapted to the harsh desert conditions, and Leto assigns Duncan to stay and learn more from
them. Soon, House Harkonnen launches its attack on the Atreides, devastating many of Atreides' troops and killing Duncan. Yueh
reveals himself as a Harkonnen traitor, forced to help the Baron capture Leto under duress; however, Yueh also arranges for Jessica
and Paul to escape the capital while making it appear they died. Yueh replaces one of Leto's teeth with a poison capsule, hoping Leto
can kill the Baron during their encounter, but the Harkonnen avoids the gas, which instead kills Leto and the Baron's Mentat, Piter De
Vries. The Baron forces Hawat to take over De Vries' position; while he follows the Baron's orders, Hawat works out how to
undermine the Harkonnens.

After fleeing into the desert, Paul and Jessica are accepted into the Fremen community of Sietch Tabr, and teach the Fremen the Bene
Gesserit fighting technique known as the "weirding way". Paul proves his manhood and chooses his Fremen name of Muad'Dib.
Jessica opts to undergo the ritual to become a Reverend Mother by drinking the poisonous Water of Life. Pregnant with Leto's
daughter, she inadvertently causes the unborn child, Alia, to become infused with the same powers in the womb. Paul takes a Fremen
lover, Chani, and has a son with her, Leto II. As two years pass, Paul's powerful prescience abilities have manifested, which lead the
Fremen to consider him their their Mahdi (messiah). Paul recognizes that the Fremen can be a powerful fighting force to take back
Arrakis, but also sees that if he does not control them, theirjihad could extend to the entire universe.

Word about this new Fremen leader Muad'Dib reaches both the Baron and the Emperor as spice production falls due to increasingly
destructive Fremen raids. The Baron decides to replace his more brutish nephew Glossu Rabban with his shrewd nephew Feyd-
Rautha, hoping to gain favor with the Fremen. The Emperor suspects the Baron of trying to create troops more powerful than the
Sardaukar to seize power, and sends spies to monitor activity on Arrakis. Hawat uses the opportunity to sow seeds of doubt in the
Baron about the Emperor's true plans, putting further strain on their alliance. Meanwhile, Gurney has reunited with Paul and Jessica.
Believing Jessica to be the Atreides traitor, Gurney tries to kill her, but is stopped by Paul. However, Paul had not foreseen Gurney's
attack, and believes he must drink the Water of Life to increase his prescience, until now usable only by the Bene Gesserit sisterhood
and fatal to men. Paul falls into unconsciousness for several weeks after drinking the Water, but when he wakes, he has clairvoyance
across time and space—he has become the Kwisatz Haderach. He senses that the Emperor and Baron are amassing fleets around
Arrakis to quell the Fremen rebellion, and prepares the Fremen for a major of
fensive against the Harkonnen troops.

The Emperor arrives with the Baron on Arrakis, and their combined troops seize a Fremen outpost, killing many including Leto II,
while Alia is captured and taken to the Baron. She remains defiant, putting her trust in her brother and revealing that Muad'Dib is
Paul. At that moment, Paul and the Fremen, riding sandworms, assault the capital, and Alia assassinates the Baron and escapes. Paul
and the Fremen quickly defeat the Harkonnen and Sardaukar troops. Paul faces the Emperor and threatens to destroy spice production
forever unless the Emperor abdicates the throne. Feyd-Rautha attempts to stop Paul by challenging him to a knife battle, but Paul
gains the upper hand and kills him. The Emperor reluctantly cedes the throne to Paul and promises his daughter
Princess Irulan's hand
in marriage. As Paul takes control of the Empire, he realizes that while he achieved his goal, he is no longer able to stop the Fremen
jihad, as their belief in him is too powerful to restrain.

Characters
House Atreides

Paul Atreides, the Duke's son, and main character of the novel.
Duke Leto Atreides, head of House Atreides
Lady Jessica, Bene Gesserit and concubine of the Duke, mother of Paul and Alia
Alia Atreides, Paul's younger sister
Thufir Hawat, Mentat and Master of Assassins to House Atreides
Gurney Halleck, staunchly loyal troubadour warrior of the Atreides
Duncan Idaho, Swordmaster for House Atreides, graduate of theGinaz School
Wellington Yueh, Suk doctor for the Atreides, who is secretly working for House Harkonnen

House Harkonnen

Baron Vladimir Harkonnen, head of House Harkonnen

Piter De Vries, twisted Mentat
Feyd-Rautha, nephew and heir-presumptive of the Baron
Glossu "Beast" Rabban, also called Rabban Harkonnen, older nephew of the Baron
Iakin Nefud, Captain of the Guard

House Corrino

Shaddam IV, Padishah Emperor of the Known Universe (the Imperium)

Princess Irulan, Shaddam's eldest daughter and heir, also a historian
Count Hasimir Fenring, genetic eunuch and the Emperor's closest friend, advisor
, and "errand boy"

Bene Gesserit

Reverend Mother Gaius Helen Mohiam, Bene Gesserit schemer, the Emperor's Truthsayer
Lady Margot Fenring, Bene Gesserit wife of Count Fenring

Fremen

The Fremen, "native" inhabitants of Arrakis

Stilgar, Fremen Naib (chieftain) ofSietch Tabr
Chani, Paul's Fremen concubine
Liet-Kynes, the Imperial Planetologist on Arrakis and father of Chani, as well as a revered figure among the Fremen
Mapes, head housekeeper of imperial residence on Arrakis
Jamis, Fremen killed by Paul in ritual duel
Harah, wife of Jamis and later servant to Paul
Ramallo, reverend mother of Sietch T abr

Smugglers

Esmar Tuek, a powerful smuggler and the father of Staban Tuek.

Staban Tuek, the son of Esmar Tuek. A powerful smuggler who befriends and takes in Gu
rney Halleck and his
surviving men after the attack on the Atreides.

Analysis
The Dune series is a landmark of soft science fiction. Herbert deliberately suppressed technology in his Dune universe so he could
address the politics of humanity, rather than the future of humanity's technology. Dune considers the way humans and their
institutions might change over time.[1][2] Director John Harrison, who adapted Dune for Syfy's 2000 miniseries, called the novel a
universal and timeless reflection of "the human condition and its moral dilemmas", and said:
 A lot of people refer to Dune as science fiction. I never do. I consider it an epic adventure in the classic storytelling
tradition, a story of myth and legend not unlike the Morte d'Arthur or any messiah story. It just happens to be set in
the future ... The story is actually more relevant today than when Herbert wrote it. In the 1960's, there were just these
two colossal superpowers duking it out. Today we're living in a more feudal, corporatized world more akin to
Herbert's universe of separate families, power centers and business interests, all interrelated and kept together by the
one commodity necessary to all.[15]

Each chapter of Dune begins with an epigraph excerpted from the fictional writings of the character Princess Irulan. In forms such as
diary entries, historical commentary, biography, quotations and philosophy, these writings set tone and provide exposition, context
[16][17][18]
and other details intended to enhance understanding of Herbert's complex fictional universe and themes.

Environmentalism and ecology

Dune has been called the "first planetary ecology novel on a grand scale".[19] After the publication of Silent Spring by Rachel Carson
in 1962, science fiction writers began treating the subject of ecological change and its consequences.
Dune responded in 1965 with its
complex descriptions of Arrakis life, from giant sandworms (for whom water is deadly) to smaller, mouse-like life forms adapted to
live with limited water. Dune was followed in its creation of complex and unique ecologies by other science fiction books such as A
Door into Ocean (1986) and Red Mars (1992).[19] Environmentalists have pointed out that Dune's popularity as a novel depicting a
planet as a complex—almost living—thing, in combination with the first images of Earth from space being published in the same
Earth Day.[20]
time period, strongly influenced environmental movements such as the establishment of the international

Declining empires
Lorenzo DiTommaso compared Dune's portrayal of the downfall of a galactic empire to Edward Gibbon's Decline and Fall of the
Roman Empire which argues that Christianity led to the fall of Ancient Rome. In "History and Historical Effect in Frank Herbert's
Dune" (1992), Lorenzo DiTommaso outlines similarities between the two works by highlighting the excesses of the Emperor on his
home planet of Kaitain and of the Baron Harkonnen in his palace. The Emperor loses his effectiveness as a ruler from excess of
ceremony and pomp. The hairdressers and attendants he brings with him to Arrakis are even referred to as "parasites". The Baron
Harkonnen is similarly corrupt, materially indulgent, and sexually decadent. Gibbon's Decline and Fall blames the fall of Rome on
the rise of Christianity. Gibbon claimed that this exotic import from a conquered province weakened the soldiers of Rome and left it
open to attack. Similarly, the Emperor's Sardaukar fighters are little match for the Fremen of Dune because of the Sardaukar's
overconfidence and the Fremen's capacity for self-sacrifice. The Fremen put the community before themselves in every instance,
[21]
while the world outside wallows in luxury at the expense of others.

Middle Eastern references

Many words, titles and names (e.g. thePadishah Emperor Shaddam IV, Hawat, Bashar, Harq-al-Ada) in the Dune universe as well as
a large number of words in the language of the Fremen people are derived or taken directly from Persian and Arabic (e.g. erg, the
Arabic word for a broad flat landform, is used frequently throughout the novel). Paul's messianic name (Muad'Dib) means in Arabic
"the teacher or maker of politeness or literature", and the prophesied appearance of one known as the "Kwisatz Haderach", meaning
"one who shortens the way" borrows the Hebrew term Kefitzat Haderech (ְ ‫קפ ִיצ ַת ה ֶַּדר ֶך‬
ְ ), a Kabbalistic Jewish term meaning one
who can "clench the way", i.e. the distance between two places - and teleport. The Fremen language is also embedded with Islamic
terms such as, jihad, Mahdi, Shaitan, and the personal bodyguard of Paul Muad'Dib Fedaykin is a transliteration of the Arabic
Feda'yin.[22] As a foreigner who adopts the ways of a desert-dwelling people and then leads them in a military capacity, Paul
Atreides' character bears many similarities to the historical T. E. Lawrence.[23] Lesley Blanch's The Sabres of Paradise has also been
identified as a major influence uponDune, with its depiction of Imam Shamil and the Islamic culture of theCaucasus inspirings some
of the characters, events and terminology ofDune.[24]

Gender dynamics
Paul's approach to power consistently requires his upbringing under the female-oriented Bene Gesserit, who operate as a long-
dominating shadow government behind all of the great houses and their marriages or divisions. A central theme of the book is the
connection, in Jessica's son, of this female aspect with his male aspect. In a Bene Gesserit test early in the book, it is implied that
people are generally "inhuman" in that they irrationally place desire over self-interest and reason. This applies Herbert's philosophy
that humans are not created equal, while equal justice and equal opportunity are higher ideals than mental, physical, or moral
equality.[25] Margery Hourihan even calls the main character's mother, Jessica, "by far the most interesting character in the novel"[26]
and pointing out that while her son approaches a power which makes him almost alien to the reader, she remains human. Throughout
the novel, she struggles to maintain power in a male-dominated society, and manages to help her son at key moments in his
realization of power.[26]

Heroism

I am showing you the superhero syndrome and your own participation in it.

— Frank Herbert[27]

Throughout Paul's rise to superhuman status, he follows a plotline common to many stories describing the birth of a hero. He has
unfortunate circumstances forced onto him. After a long period of hardship and exile, he confronts and defeats the source of evil in
his tale.[28][29] As such, Dune is representative of a general trend beginning in 1960s American science fiction in that it features a
[30] Eventually, Paul Atreides gains a level of omniscience which allows
character who attains godlike status through scientific means.
him to take over the planet and the galaxy, and causing the Fremen of Arrakis to worship him like a god. Author Frank Herbert said
in 1979, "The bottom line of the Dune trilogy is: beware of heroes. Much better [to] rely on your own judgment, and your own
mistakes."[31] He wrote in 1985, "Dune was aimed at this whole idea of the infallible leader because my view of history says that
[32]
mistakes made by a leader (or made in a leader's name) are amplified by the numbers who follow without question."

Juan A. Prieto-Pablos says Herbert achieves a new typology with Paul's superpowers, differentiating the heroes of Dune from earlier
heroes such as Superman, van Vogt's Gilbert Gosseyn and Henry Kuttner's telepaths. Unlike previous superheroes who acquire their
powers suddenly and accidentally, Paul's are the result of "painful and slow personal progress." And unlike other superheroes of the
1960s—who are the exception among ordinary people in their respective worlds—Herbert's characters grow their powers through
"the application of mystical philosophies and techniques." For Herbert, the ordinary person can develop incredible fighting skills
[33]
(Fremen, Ginaz swordsmen and Sardaukar) or mental abilities (Bene Gesserit, Mentats, Spacing Guild Navigators).

Zen
Early in his newspaper career, Herbert was introduced to Zen by two Jungian psychologists.[34] Throughout the Dune series and
particularly in Dune, Herbert employs concepts and forms borrowed from Zen Buddhism.[35] The Fremen are Zensunni adherents,
and many of Herbert's epigraphs are Zen-spirited.[36] In "Dune Genesis" he wrote:

What especially pleases me is to see the interwoven themes, the fuguelike relationships of images that exactly replay
the way Dune took shape. As in an Escher lithograph, I involved myself with recurrent themes that turn into paradox.
The central paradox concerns the human vision of time. What about Paul's gift of prescience-the Presbyterian
fixation? For the Delphic Oracle to perform, it must tangle itself in a web of predestination. Yet predestination
negates surprises and, in fact, sets up a mathematically enclosed universe whose limits are always inconsistent,
always encountering the unprovable. It's like a koan, a Zen mind breaker. It's like the Cretan Epimenides saying, "All
Cretans are liars."[25]

Reception
Dune tied with Roger Zelazny's This Immortal for the Hugo Award in 1966,[3] and won the inaugural Nebula Award for Best
Novel.[4] Reviews of the novel have been largely positive, and Dune is considered by some critics to be the best science fiction book
ever written.[37] As of 2000 it had sold over 12 million copies worldwide,[15] and it has been regularly cited as one of the world's
best-selling science fiction novels.[5][6]

Science fiction authorArthur C. Clarke has described it as "unique" and claimed "I know nothing comparable to it except Lord of the
Rings."[38] Robert A. Heinlein described Dune as "Powerful, convincing, and most ingenious."[38] It was called "One of the
monuments of modern science fiction" by the Chicago Tribune, while the Washington Post described it as "A portrayal of an alien
society more complete and deeply detailed than any other author in the field has managed ... a story absorbing equally for its action
[38]
and philosophical vistas ... An astonishing science fiction phenomenon."

Algis Budrys praised Dune for the vividness of its imagined setting, saying "The time lives. It breathes, it speaks, and Herbert has
smelt it in his nostrils." But Budrys also found that "Dune turns flat and tails off at the end. ... [T]ruly effective villains simply simper
and melt; fierce men and cunning statesmen and seeresses all bend before this new Messiah." He faults in particular Herbert's
decision to kill Paul's infant son offstage, with no apparent emotional impact, saying "you cannot be so busy saving a world that you
cannot hear an infant shriek."[39]

Tamara I. Hladik wrote that the story "crafts a universe where lesser novels promulgate excuses for sequels. All its rich elements are
in balance and plausible—not the patchwork confederacy of made-up languages, contrived customs, and meaningless histories that
are the hallmark of so many other, lesser novels."[40]

Writing for The New Yorker, Jon Michaud praises Herbert's "clever authorial decision" to exclude robots and computers ("two staples
of the genre") from his fictional universe, but suggests that this may be one explanation why Dune lacks "true fandom among
science-fiction fans" to the extent that it "has not penetrated popular culture in the way that The Lord of the Rings and Star Wars
have".[41]

Portrayal of gender and sexuality

Kathy Gower criticizes Dune in the 1972 essay anthologyMother Was Not a Person, arguing that, although the book has been praised
for its portrayal of people in a mystical world, the prominence of its female characters is significantly lower than that of the males. In
her view, women in Dune culture are largely left to domestic duties, and the exclusively female Bene Gesserit religious cult
resembles age-old notions of witchcraft. Gower opines that female characters in this religion are portrayed to be feared and hated by
male characters. Gower observes that female characters never use their power to aid themselves, only the men around them, and their
[42]
greatest desire is to bring a male character into their religion.

In 2000, science fiction author and literary critic Samuel R. Delany observed that the portrayal of the book's only homosexual
character, the vile Baron Harkonnen, is negative.[43]

First edition prints and manuscripts

The first edition of Dune is one of the most valuable in science fiction book collecting, and copies have gone for more than $10,000
at auction.[44] The Chilton first edition of the novel is 9.25 inches tall, with bluish green boards and a price of $5.95 on the dust
jacket, and notes Toronto as the Canadian publisher on the copyright page. Up to this point, Chilton had been publishing only
automobile repair manuals.[45] Other editions similar to this one, such asbook club editions, exist.

California State University, Fullerton's Pollack Library has several of Herbert's draft manuscripts of Dune and other works, with the
author's notes, in their Frank Herbert Archives.[46]

Adaptations

Early stalled attempts

In 1971, the production company Apjac International (APJ) (headed by Arthur P. Jacobs) optioned the rights to film Dune. As Jacobs
was busy with other projects, such as the sequel to Planet of the Apes, Dune was delayed for another year. Jacobs' first choice for
director was David Lean, but he turned down the offer. Charles Jarrott was also considered to direct. Work was also under way on a
script while the hunt for a director continued. Initially, the first treatment had been handled by Robert Greenhut, the producer who
had lobbied Jacobs to make the movie in the first place, but subsequently Rospo Pallenberg was approached to write the script, with
, Jacobs died in 1973.[47]
shooting scheduled to begin in 1974. However

In December 1974, a French consortium led by Jean-Paul Gibon

purchased the film rights from APJ, withAlejandro Jodorowskyset
to direct.[48] In 1975, Jodorowsky planned to film the story as a 10-
hour feature, in collaboration with Salvador Dalí, Orson Welles,
Gloria Swanson, David Carradine, Geraldine Chaplin, Alain Delon,
Hervé Villechaize, and Mick Jagger. It was at first proposed to
score the film with original music by Karlheinz Stockhausen,
Henry Cow, and Magma; later on, the soundtrack was to be
provided by Pink Floyd.[49] Jodorowsky set up a pre-production
Pre-release flyer for Jodorowsky'sDune unit in Paris consisting of Chris Foss, a British artist who designed
covers for science fiction periodicals, Jean Giraud (Moebius), a
French illustrator who created and also wrote and drew for Metal
Hurlant magazine, and H. R. Giger.[48] Moebius began designing creatures and characters for the film, while Foss was brought in to
design the film's space ships and hardware.[48] Giger began designing the Harkonnen Castle based on Moebius' storyboards.
[48] Dan O'Bannon was to head the special effects department.[48]
Jodorowsky's son Brontis Jodorowsky was to play Paul Atreides.

Dalí was cast as the Emperor.[48] Dalí later demanded to be paid $100,000 per hour; Jodorowsky agreed, but tailored Dalí's part to be
filmed in one hour, drafting plans for other scenes of the emperor to use a mechanical mannequinsasubstitute for Dalí.[48] According
to Giger, Dalí was "later invited to leave the film because of his pro-Franco statements".[50] Just as the storyboards, designs, and
script were finished, the financial backing dried up. Frank Herbert traveled to Europe in 1976 to find that $2 million of the $9.5
million budget had already been spent in pre-production, and that Jodorowsky's script would result in a 14-hour movie ("It was the
size of a phone book", Herbert later recalled). Jodorowsky took creative liberties with the source material, but Herbert said that he
and Jodorowsky had an amicable relationship. Jodorowsky said in 1985 that he found the Dune story mythical and had intended to
recreate it rather than adapt the novel; though he had an "enthusiastic admiration" for Herbert, Jodorowsky said he had done
everything possible to distance the author and his input from the project.[48] Although Jodorowsky was embittered by the experience,
he stated that the Dune project changed his life. O'Bannon entered a psychiatric hospital after the production failed, and worked on 13
scripts; the last of which became Alien.[48] A 2013 documentary, Jodorowsky's Dune, was made about Jodorowsky's failed attempt at
an adaptation.

In 1976 Dino De Laurentiis acquired the rights from Gibon's consortium. De Laurentiis commissioned Herbert to write a new
screenplay in 1978; the script Herbert turned in was 175 pages long, the equivalent of nearly three hours of screen time. De Laurentiis
then hired director Ridley Scott in 1979, with Rudy Wurlitzer writing the screenplay and H. R. Giger retained from the Jodorowsky
production. Scott intended to split the book into two movies. He worked on three drafts of the script, using The Battle of Algiers as a
point of reference, before moving on to direct another science fiction film, Blade Runner (1982). As he recalls, the pre-production
process was slow, and finishing the project would have been even more time-intensive:

But after seven months I dropped out of Dune, by then Rudy Wurlitzer had come up with a first-draft script which I
felt was a decent distillation of Frank Herbert's. But I also realised Dune was going to take a lot more work—at least
two and a half years' worth. And I didn't have the heart to attack that because my older brother Frank unexpectedly
died of cancer while I was prepping the De Laurentiis picture. Frankly, that freaked me out. So I went to Dino and
told him the Dune script was his.

—From Ridley Scott: The Making of his Movies by Paul M. Sammon

1984 film by David Lynch
In 1981, the nine-year film rights were set to expire. De Laurentiis re-negotiated the rights from the author, adding to them the rights
to the Dune sequels (written and unwritten). After seeing The Elephant Man, producer Raffaella De Laurentiis decided that David
Lynch should direct the movie. Around that time Lynch received several other directing offers, including Return of the Jedi. He
agreed to direct Dune and write the screenplay even though he had not read the book, known the story, or even been interested in
science fiction.[51] Lynch worked on the script for six months with Eric Bergen and Christopher De Vore. The team yielded two
drafts of the script before it split over creative dif
ferences. Lynch would subsequently work on five more drafts.

This first film of Dune, directed by Lynch, was released in 1984, nearly20 years after the book's publication. Though Herbert said the
book's depth and symbolism seemed to intimidate many filmmakers, he was pleased with the film, saying that "They've got it. It
begins as Dune does. And I hear my dialogue all the way through. There are some interpretations and liberties, but you're gonna
come out knowing you've seen Dune."[52] Reviews of the film were not as favorable, saying that it was incomprehensible to those
[53]
unfamiliar with the book, and that fans would be disappointed by the way it strayed from the book's plot.

2000 miniseries by John Harrison

In 2000, John Harrison adapted the novel into Frank Herbert's Dune, a miniseries which premiered on the Sci-Fi Channel.[15] As of
[54]
2004, the miniseries was one of the three highest-rated programs broadcast on the Sci-Fi Channel.

Further film attempts

In 2008, Paramount Pictures announced that they would produce a new film based on the book, with Peter Berg attached to
direct.[55][56] Producer Kevin Misher, who spent a year securing the rights from the Herbert estate, was to be joined by Richard
Rubinstein and John Harrison (of both Sci Fi Channel miniseries) as well as Sarah Aubrey and Mike Messina.[55] The producers
stated that they were going for a "faithful adaptation" of the novel, and considered "its theme of finite ecological resources
particularly timely."[55] Science fiction author Kevin J. Anderson and Frank Herbert's son Brian Herbert, who had together written
multiple Dune sequels and prequels since 1999, were attached to the project as technical advisors.[57] In October 2009, Berg dropped
out of the project, later saying that it "for a variety of reasons wasn't the right thing" for him.[58] Subsequently, with a script draft by
Joshua Zetumer, Paramount reportedly sought a new director who could do the film for under $175 million.[59] In 2010, Pierre Morel
was signed on to direct, with screenwriter Chase Palmer incorporating Morel's vision of the project into Zetumer's original
draft.[60][61] By November 2010, Morel left the project.[62] Paramount finally dropped plans for a remake in March 201
1.[63]

In November 2016, Legendary Entertainment acquired the film and TV rights for Dune.[64][65] Variety reported in December 2016
that Denis Villeneuve was in negotiations to direct the project,[66] which was confirmed in February 2017.[67] In April 2017,
Legendary announced thatEric Roth would write the screenplay.[68]

Audiobook
In 1993, Recorded Books Inc. released a 20-disc audio book narrated by George Guidall. In 2007, Audio Renaissance released an
audio book narrated by Simon Vance with some parts acted out by Scott Brick, Orlagh Cassidy, Euan Morton, and other performers.

Cultural influence
Dune has been widely influential, inspiring other novels, music, films (including Star Wars), television, games, and comic books.[69]
Real world extraterrestrial locations have been named after elements from the novel and its sequels. Dune was parodied in 1984's
National Lampoon's Doonby Ellis Weiner, which William F. Touponce called "something of a tribute to Herbert's success on college
campuses", noting that "the only other book to have been so honored is Tolkien's Lord of the Rings," which was parodied by The
Harvard Lampoon in 1969.[70]
Music
In 1978, French electronic musician Richard Pinhas released the nine-trackDune-inspired album Chronolyse, which
includes the seven-partVariations sur le thème des Bene Gesserit.[71]
In 1979, German electronic music pioneerKlaus Schulze released an LP titled Dune featuring motifs and lyrics
inspired by the novel.[72]
A similar musical project,Visions of Dune, was released also in 1979 by Zed (a pseudonym of French electronic
musician Bernard Sjazner).[73]
The experimental rock bandDün named themselves after the novel. Their only album, 1981'sEros, features two
tracks entitled after elements of the novel: "L'epice" ("Spice") and "Arrakis".
Heavy metal band Iron Maiden wrote the song "To Tame a Land" based on theDune story. It appears as the closing
track to their 1983 albumPiece of Mind. The original working title of the song was "Dune"; however , the band was
denied permission to use it, with Frank Herbert's agents stating "Frank Herbert doesn't like rock bands, particularly
heavy rock bands, and especially bands like Iron Maiden". [74]

Dune inspired the German happy hardcore band Dune, who have released several albums with space travel-themed
songs.
The influential progressive hardcore bandShai Hulud took their name from Dune.
"Traveller in Time", from the 1991 Blind Guardian album Tales from the Twilight World, is based mostly on Paul
Atreides' visions of future and past.[75][76]
The song "Near Fantastica", from the Matthew Good albumAvalanche, makes reference to "litany against fear",
repeating "can't feel fear, fear's the mind killer" through a section of the song.[77]
In the Fatboy Slim song "Weapon of Choice", the line "If you walk without rhythm/Y ou won't attract the worm" is a
near quotation from the sections of novel in which Stilgar teaches Paul to ride sandworms.
Dune also inspired the 1999 albumThe 2nd Moon by the German death metal bandGolem, which is a concept
album about the series.[78]
Dune influenced Thirty Seconds to Marson their self-titled debut album.[79]
The Youngblood Brass Band's song "Is an Elegy" onCenter:Level:Roar references "Muad'Dib", "Arrakis" and other
elements from the novel.[80]
The debut album of Canadian musicianGrimes, called Geidi Primes, is a concept album based onDune.[81][82]

Games
There have been a number of games based on the book, notably the 1992 strategy adventure Dune and its sequels. The online game
[83]
Lost Souls includes Dune-derived elements, including sandworms and melange—addiction to which can produce psychic talents.

Space exploration
The Apollo 15 astronauts named a small crater after the novel during the 1971 mission,[84] and the name was formally adopted by the
International Astronomical Unionin 1973.[85] Since 2009, the names ofplanets from the Dune novels have been adopted for the real-
world nomenclature of plains and other features onSaturn's moon Titan.[9][10][11]

See also
Dune universe
List of Dune Houses
List of Dune characters
List of Dune terminology
List of fictional books § Works invented by Frank Herbert
Soft science fiction

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Further reading
Clute, John; Nicholls, Peter (1995).The Encyclopedia of Science Fiction. New York: St. Martin's Press. p. 1386.
ISBN 0-312-13486-X.
Clute, John; Nicholls, Peter (1995).The Multimedia Encyclopedia of Science Fiction(CD-ROM). Danbury, CT:
Grolier. ISBN 0-7172-3999-3.
 Nicholls, Peter (1979). The Encyclopedia of Science Fiction. St Albans, Herts, UK: Granada Publishing Ltd. p. 672.
ISBN 0-586-05380-8.
Jakubowski, Maxim; Edwards, Malcolm (1983).The Complete Book of Science Fiction and Fantasy Lists . St Albans,
Herts, UK: Granada Publishing Ltd. p. 350.ISBN 0-586-05678-5.
Pringle, David (1990). The Ultimate Guide to Science Fiction. London: Grafton Books Ltd. p. 407.ISBN 0-246-
13635-9.
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911682-20-1.

External links
Official website for Dune and its sequels
Dune title listing at the Internet Speculative Fiction Database
Interviewer: Paul Turner (October 1973). "Vertex Interviews Frank Herbert". Volume 1, Issue 4. Archived fromthe
original on 2009-05-19.
Spark Notes: Dune, detailed study guide
Audio Review at The Science Fiction Book Review Podcast
DuneQuotes.com - Collection of quotes from theDune series
Dune by Frank Herbert, reviewed by Ted Gioia (Conceptual Fiction)
"Frank Herbert Biography and Bibliography at LitW eb.net". www.litweb.net. Archived fromthe original on April 2,
2009. Retrieved 2009-01-02.
"Arabic and Islamic themes in Frank Herbert'sDune". The Baheyeldin Dynasty. Retrieved 2009-01-02.
Works of Frank Herbert at Curlie (based on DMOZ)
Timberg, Scott (April 18, 2010)."Frank Herbert's Dune holds timely—and timeless—appeal". Los Angeles Times.
Retrieved November 27, 2013.
Walton, Jo (January 12, 2011). "In league with the future: Frank Herbert'sDune (Review)". Tor.com. Retrieved
November 27, 2013.
Leonard, Andrew (June 4, 2015)."To Save California, ReadDune". Nautilus. Retrieved June 15, 2015.

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