This blog post examines J.R.R. Tolkien's aversion to Frank Herbert's Dune, exploring the literary differences between their works and Tolkien's personal preferences that may have influenced his negative opinion.
Two of the greatest contributors to modern literature are J.R.R. Tolkien and Frank Herbert. Tolkien, renowned for his creation of Middle-earth in "The Lord of the Rings," stands as a towering figure in the realm of fantasy literature. Frank Herbert, on the other hand, gained acclaim for his groundbreaking science fiction epic "Dune." Despite their respective achievements, Tolkien held reservations about Herbert's work. This blog post dives into the reasons behind Tolkien's apparent aversion to "Dune," examining literary disparities and personal opinions that might have contributed to Tolkien's perspective.
A central piece in this discussion is a letter that Tolkien wrote in 1966 to a man named John Bush, regarding Bush obtaining a copy of Herbert's book and asking for Tolkien's opinion. Tolkien gave Bush a cordial but blunt description of what he felt. He prefaced his comments by stating that he finds it impossible for an author to speak on another's work in a similar subject matter. He then added, "In fact, I dislike Dune with some intensity," and concluded that it is much fairer to another author to keep silent and refuse to comment. While he was formal in his writing, Tolkien did not leave much to the imagination regarding how he felt about the book.
Following that letter, Tolkien never elaborated on why he disliked Herbert's book so much, at least not publicly. As a result, his feelings on the story can only be speculated. Considering Tolkien was adept at creating living, breathing worlds with real-world themes, it creates curiosity over why he disliked something equally as layered. Here are two reasons that have been pondered by literary academics over the years.
Tolkien and Herbert approached storytelling from vastly different literary traditions, resulting in significant disparities between their works. Tolkien's Middle-earth is a meticulously crafted secondary world grounded in mythological depth, linguistic complexity, and intricate world-building. It draws inspiration from Norse sagas, Old English poetry, and medieval romances. Tolkien constructed a rich and immersive universe that resonates with historical and cultural depth. The secondary world is entirely fictional and exists solely in the confines of the author's imagination.
Tolkien used the term "sub-creation" to describe the process of constructing a secondary world. According to Tolkien, authors engage in sub-creation when they invent fictional settings, characters, and events that adhere to their own internal logic and consistency. In this sense, the secondary world itself becomes a self-contained reality with its own laws and principles, separate from the primary world but reflective of it in different ways.
Middle-earth exemplifies the concept of a secondary world in several ways. Firstly, Tolkien's creation is characterized by meticulous attention to detail and consistency. He developed a richly layered world with its own history spanning thousands of years, complete with languages, cultures, mythologies, and geographies. From the sprawling landscapes of the Shire to the towering peaks of the Misty Mountains, Middle-earth is depicted with a level of depth and vividness that lends it a sense of palpable reality.
Moreover, Middle-earth functions as a self-contained universe within Tolkien's legendarium, a term used to describe the interconnected body of mythological and historical material that underpins his works. Each story set in Middle-earth contributes to the broader tapestry of Tolkien's mythology, adding new layers of meaning and depth to the world he created.
In contrast, "Dune" is a science fiction masterpiece set in a distant future where noble houses vie for control of the desert planet Arrakis. While "Dune" shares elements of epic scope and political intrigue with Tolkien's work, its narrative and thematic concerns differ fundamentally. Herbert's universe is shaped by ecological concerns, political maneuvering, and philosophical exploration, focusing on themes of power, religion, and human evolution. Herbert's world is more focused on projecting what our current world’s future might be rather than creating a separate parallel one.
Tolkien's approach to storytelling emphasizes the concept of sub-creation, wherein authors aspire to emulate the divine act of creation by constructing believable secondary worlds. Every element in Tolkien's narratives serves a purpose within the overarching mythology of Middle-earth, from languages to landscapes. In contrast, Herbert's world-building in "Dune" is more utilitarian, serving the needs of the narrative rather than aspiring to the same level of depth and coherence as Middle-earth.
Beyond literary disparities, Tolkien's reaction may also stem from his personal opinions and tastes. As a scholar deeply versed in medieval literature and mythology, Tolkien may have found Herbert's science fiction epic alien to his own sensibilities. While Tolkien admired innovation and creativity in literature, he also had a deep reverence for tradition and craftsmanship. "Dune"'s departure from the conventions of traditional fantasy literature might have been a point of contention for Tolkien, who valued the timeless themes and archetypical motifs found in classic myth and legend.
One significant difference in their personal opinions on storytelling lies in Tolkien's preference for moral clarity and archetypal storytelling, which might have clashed with the ambiguous and morally complex world of "Dune." Herbert's narrative blurs the lines between heroism and villainy, challenging conventional notions of morality and ethics. Tolkien's potential distaste for the moral ambiguity of the characters in "Dune" can be understood through an analysis of his own literary preferences and thematic inclinations.
Tolkien's works, notably "The Lord of the Rings," often feature characters whose moral alignments are clearly defined, reflecting a worldview rooted in traditional notions of heroism, virtue, and evil. In contrast, "Dune" presents characters whose moral alignments are more ambiguous and subject to interpretation. For example, Paul Atreides, the protagonist of "Dune," grapples with questions of destiny, power, and the ethical implications of his actions throughout the narrative. While Paul's intentions are often noble, his pursuit of power and willingness to sacrifice others for the greater good raise complex ethical dilemmas that defy easy categorization.
Similarly, characters like Baron Vladimir Harkonnen and his nephew Feyd-Rautha exhibit traits of villainy but also possess redeeming qualities and complex motivations. The Baron's machinations and ruthless pursuit of power are tempered by moments of vulnerability and self-doubt, while Feyd-Rautha's ambition and cunning are juxtaposed with glimpses of humanity and vulnerability.
Tolkien's aversion to moral ambiguity stems from his belief in a coherent moral order of the universe, reflected in his Christian faith and his conception of Middle-earth as a mythical reflection of divine providence. In Tolkien's worldview, evil is portrayed as an external force that corrupts and perverts the natural order, rather than as a morally ambiguous trait inherent in individual characters. Characters like Sauron and Saruman embody this externalized evil, serving as archetypal embodiments of malevolence and corruption.
Moreover, Tolkien's preference for moral clarity may also be influenced by his background as a scholar of medieval literature and mythology. In medieval literature, characters are often depicted in starkly moralistic terms, with clear delineations between heroes and villains. Tolkien drew inspiration from these traditional narratives, seeking to invoke the timeless resonance of myth and legend into his own works.
While Tolkien's own works exhibit shades of moral ambiguity, particularly in characters like Gollum and Boromir, they ultimately affirm the triumph of good over evil in a manner that may not align with the moral ambiguity of "Dune."
Additionally, Tolkien's aversion to technological progress and industrialization might have colored his perception of "Dune," which features advanced technology and futuristic societies. Tolkien, who lamented the encroachment of industrialization on the natural world, may have viewed Herbert's portrayal of a technologically advanced future with skepticism. While both authors explore themes of power and progress in their respective works, their perspectives on these themes differ significantly, reflecting their divergent literary sensibilities.
In conclusion, Tolkien's apparent aversion to "Dune" can be attributed to a combination of literary disparities and personal opinions. While Tolkien valued tradition, craftsmanship, and archetypal storytelling, "Dune" represents a departure from the conventions of traditional fantasy literature. Differences in thematic concerns, narrative style, and worldview may have contributed to Tolkien's reservations towards "Dune." However, it is essential to approach Tolkien's criticisms with nuance and recognize the subjective nature of literary taste. Despite his reservations, Tolkien's legacy as a towering figure in fantasy remains unchallenged, as does Frank Herbert's impact on science fiction literature.
