THE WINDS OF DUNE: Jessica's Time
THE WINDS OF DUNE: Jessica's Time
In THE WINDS OF DUNE by Brian Herbert and Kevin J. Anderson, the jihad of PAUL OF DUNE and DUNE MESSIAH gives way to counterrevolution and growing complications among the principal characters, especially the women. After Paul is presumed dead, Alia acts as Regent for the infants Leto and Ghanima, and Irulan waits in prison for her destined role. Bronso of Ix attempts to topple the messianic image of Paul, but overshadowing that image is the character of Jessica.
The authors face the inevitable dilemma of building suspense in a novel which is both prequel and sequel, yet they manage it with practiced aplomb. The greater challenge is, however, living up to stylistic comparisons with Frank Herbert while fashioning an original contribution to the Dune canon. The master's "vertical layers," "Victorian poses," and epic dialogue inform characters. His free indirect narration and compressed or "coital" structure continue. Even a cursory study of the first page of THE WINDS OF DUNE reveals character, setting, mood and figurative language worthy of the original DUNE.
As plot unfolds, the devoted reader knows where Paul is. He is in the desert. The dramatic irony experienced during his funeral could not have been had in the Theatre of Dionysus, yet the invisible hero has attained a stature reminiscent of Oedipus, wandering toward Colonus. Soon it becomes apparent that, wherever we find Paul, he will be upstaged by Jessica, and the reader must discover how others will contribute to some change in her, hinted in the winds.
Jessica stands at the hub. She must be connected with Alia, Irulan, Leto, Ghanima, Gurney, Bronso and others in ways not yet revealed. Long flashbacks describe chapters which are structurally identical to remaining chapters. They are campfire accounts told by Jessica. A more daring stylist might have shifted to first person narration, but within the larger scheme these flashbacks work. In particular, the boyhood stories of Paul and Bronso evoke our own childhood dreams of circuses as well as Dorothy's journey to Oz, deftly balancing the familiar with the unfamiliar. And the show goes on.
Ecological, political and religious parallels notwithstanding, Frank Herbert's great literary contribution begins with the idea of the hero. From the Houses of Atreus and Oedipus, to the modern Byronic and code heroes, this character as theme has pervaded Western literature. Through Paul we are warned about the disastrous consequences of our devotion: "May god save us from a messiah of our own making." Our hero becomes the father; the father becomes the son. But what of the mother? At the conclusion of DUNE Jessica says to Chani, "We who carry the name of concubine?history will call us wives." At the conclusion of THE WINDS OF DUNE Jessica might have hoped that history would still call her Mother.
J. Walker Williams
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