> "how he puts together a story, constructed layers, and characters," [..]
It is also a matter of involving syncretic ideas into the expanding dynamics to animate feelings fixedly and methodically. As Frank signifies, this book draws proportionately from the nature of sand, and how men (who have come to adopt religious attributions towards the climate, which begin from the autochthonous roots and expand to more complex 'felt' actions) behave in certain environmental conditions. This can be examined from the winding death of Kynes (the ecologist of Arrakis) as he comes to understand the futility of his efforts, and the fact that his planet only impassively accepted him as a submitted figure of service, a scene described as "important" for the overall significance of the story's political interpretation.
"""
... about the death of the planetary ecologist in "Dune" being a very touching spot, I think you said... a very moving... Well, I felt also it was a very significant point. A lot of the story swung around this: how the ecologist died. I thought it was very important that the planet killed the ecologist. Even though he planet... I mean, even though the ecologist was technically able to subdue anything within that... Well, there he lay dying.
"""
With this, you can begin to see the complex symbolism of most of the characters' traits and their responses to certain conditions. I fondly remember reading, in rather vagrant patterns between pages, Dune for the sake of understanding how these different interplays of ideas paved the methods of plot construction, nearly all of which seemed necessary to some extent to portray (in story and in sensation) contention, mystery and of course the parched, suffocating desert setting. The latter, which I have quoted, resounded with me especially. In light of the sudden reinterest for the Novel, I suppose I will be reading it more carefully this time around.
Another interesting point you mention is rhythm, both in meter (".. I wrote certain parts of it in haiku and other poetical forms, and then expanded them to prose to create a pace") and the progression of ideas. His slight bawdry way of describing it, these ideas arriving at a closing halt towards the end for a more evocative summarization and interpolation (satiation), even if these ideas sparsely appear in the peripheral mind after completing the novel, describes the connection quite fully. Of course, such an experience can only come from an honest reading of the work, and an appreciation of dynamics.
It is also a matter of involving syncretic ideas into the expanding dynamics to animate feelings fixedly and methodically. As Frank signifies, this book draws proportionately from the nature of sand, and how men (who have come to adopt religious attributions towards the climate, which begin from the autochthonous roots and expand to more complex 'felt' actions) behave in certain environmental conditions. This can be examined from the winding death of Kynes (the ecologist of Arrakis) as he comes to understand the futility of his efforts, and the fact that his planet only impassively accepted him as a submitted figure of service, a scene described as "important" for the overall significance of the story's political interpretation.
""" ... about the death of the planetary ecologist in "Dune" being a very touching spot, I think you said... a very moving... Well, I felt also it was a very significant point. A lot of the story swung around this: how the ecologist died. I thought it was very important that the planet killed the ecologist. Even though he planet... I mean, even though the ecologist was technically able to subdue anything within that... Well, there he lay dying. """
With this, you can begin to see the complex symbolism of most of the characters' traits and their responses to certain conditions. I fondly remember reading, in rather vagrant patterns between pages, Dune for the sake of understanding how these different interplays of ideas paved the methods of plot construction, nearly all of which seemed necessary to some extent to portray (in story and in sensation) contention, mystery and of course the parched, suffocating desert setting. The latter, which I have quoted, resounded with me especially. In light of the sudden reinterest for the Novel, I suppose I will be reading it more carefully this time around.
Another interesting point you mention is rhythm, both in meter (".. I wrote certain parts of it in haiku and other poetical forms, and then expanded them to prose to create a pace") and the progression of ideas. His slight bawdry way of describing it, these ideas arriving at a closing halt towards the end for a more evocative summarization and interpolation (satiation), even if these ideas sparsely appear in the peripheral mind after completing the novel, describes the connection quite fully. Of course, such an experience can only come from an honest reading of the work, and an appreciation of dynamics.