![]() ![]() DUNE MESSIAH is the way the sets are rearranged between these two operatic performances, and in it we can just about see the stagehands themselves shuffling props about. DUNE MESSIAH functions, finally, as a kind of switching station between DUNE and CHILDREN OF DUNE: we must travel through DUNE MESSIAH on the way from the one to the other. Navigation among the tangled conspiracies of which DUNE MESSIAH is woven is the necessary shortest distance to be traversed between two points. I admire DUNE MESSIAH for its conciseness I have criticized it elsewhere for the near impenetrability of its plot i.e., trying to tease out who are the warring factions, and what their objectives are. I disagree: the two are too different in tone, purpose, and style. Many readers have opined that DUNE MESSIAH is best appreciated as continuous with DUNE, as a sort of coda to it. John Campbell, who had first published DUNE in Analog, rejected DUNE MESSIAH because of how it undermined all that DUNE had accomplished, which was precisely what Herbert had, indeed, set out to do. ![]()
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