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The desert planet Arrakis, called Dune, has been destroyed. Now, the Bene Gesserit, heirs to Dune's power, have colonized a green world--and are turning it into a desert, mile by scorched mile.
Here is the last book Frank Herbert wrote before his death. A stunning climax to the epic Dune legend that will live on forever...
- Sales Rank: #34993 in Books
- Color: Brown
- Brand: Herbert, Frank
- Published on: 1987-07-01
- Released on: 1987-07-01
- Original language: English
- Number of items: 1
- Dimensions: 6.90" h x 1.20" w x 4.30" l, .49 pounds
- Binding: Mass Market Paperback
- 448 pages
From Publishers Weekly
Now that the planet Arrakis (Dune) has been annihilated, the Bene Gesserit order turns its stronghold Chapterhouse into another desert world, and from this base, the sisterhood plans its moves against ruthless rivals. Drawing on a vast store of history and religion, the book is "so rich in this one area that others suffer and the narrative crawls," PW observed.
Copyright 1986 Reed Business Information, Inc.
Review
"Compelling...a worthy addition to this durable and deservedly popular series."
-New York Times
"The vast and fascinating Dune saga sweeps on."
-Kirkus Reviews
From the Publisher
13 1.5-hour cassettes
Most helpful customer reviews
81 of 86 people found the following review helpful.
The epic series concludes
By mrliteral
It may not have been his intent, but fate has made Chapterhouse Dune the last book in Frank Herbert's Dune series. There may be others, and they may even be good (I haven't yet read them), but this book represents Herbert's final words on the subject. Although not perfect, and definitely leaving things open for another book, this is, overall, a worthy addition to the series.
In this book - a direct sequel to Heretics of Dune with many of the same characters - the Bene Gesserit sisterhood is under siege, threatened by the Honored Matres, a somewhat darker version of their own organization, that is sweeping viciously across the galaxy like a barbarian horde. With the original Dune lifeless after a Matres attack, the Bene Gesserit are trying to create a similar world out of their headquarters. Although they don't think of it in those terms, they are really trying to create a planetary ghola, a clone similar to that of recurring character Duncan Idaho. The book focuses on the war between the two sisterhoods.
The book does have its flaws. The rather open-ended conclusion may be forgiven if we believe that Herbert had another book intended. The characters are, as usual, overly serious and everything they do is filled with hidden meanings. Also, there is a feeling that Herbert was making up parts of this story as he goes along, with new movements suddenly appearing (such as the futuristic Jews who have never been previously mentioned although they have supposedly always been around).
In the end, what is the central point or character of this series? Is it a history of the Bene Gesserit, the House Atreides, Duncan Idaho or some combination of all these. My feeling that the center of this saga is the Tyrant Leto, with the first trilogy (Dune, Dune Messiah and Children of Dune) a story of his origin, the central book (God Emperor) the tale of his emperorship, and the final trilogy (Heretics, Chapterhouse and an intended final book) to be the story of Leto's Golden Path.
That is my theory. Whatever your own ideas, if you have enjoyed the previous books, you should enjoy this one also and when you conclude it, you will have read one of the most significant series in science fiction.
67 of 72 people found the following review helpful.
A brilliant ending to the whole series
By Codename
This book basically carries on from where Heretics Of Dune hardly stopped. But now the Honoured Matres, instead of simply holding a slight distaste for the Bene Gesserit, are head-hunting, searching out the original sisterhood's home planet: Chapter House Planet.
Already the Honoured Matres have laid bloody waste to dozens of Bene Gesserit planets, and the new Mother Superior (an Atreides with wild talent) can sense that the hunters are getting closer. So she hatches a radical plan that puts the entire sisterhood at risk, in the hope of finally punishing the Honoured Matres.
And brilliant it all is too. This is easily my second-favourite from the whole series (after Dune). After an initially slow lead up (one of Herbert's defining features, it seems) we get violently thrown into action, watching in breathless silence as the final conflict hits us.
As is always the way, you'll never know what is going to happen, never know who next will feel the chill of death, and you'll wow at one shock after another.
Suddenly, and quite unexpectedly, this last book suddenly made me stop seing the Dune series as a set of six books. The second-to-last chapter oh-so suddenly made me see the whole series as one story, made me see the pattern, told a story beyond the ending of Chapterhouse Dune. And I enjoyed it all very much.
As for the last chapter. Well. I've still no idea what to make of it. It's such an intriguing and unexpected last two pages. If anyone knows what it's about, what the hidden message is, I'd love to know.
It's worth reading the whole series just to get to this book. Read it all. The rewards for a sci-fi fan are better experienced than listened to. Go find out. Now. You'll never find a better series of books.
27 of 29 people found the following review helpful.
Chapterhouse: Dune -- The Sorcerer of Dune
By Bob R Bogle
[Nota Bene: As Frank Herbert's last two published novels in the Dune series, Heretics of Dune and Chapterhouse: Dune, along with the unwritten Dune 7, in fact comprise a single story that happened to be divided into three parts, I'll post the same review for both of the two published volumes. This review contains no spoilers.]
During the first half of his literary career, Frank Herbert focused most on coming to terms with what it meant to be conscious. The evolution of his thinking on the subject can be traced from real-world events which happened to him in his youth, through his earliest published science fiction stories, crude as they were, and on into novels like The Dragon in the Sea and the stories that would coalesce into The Godmakers, and certainly The Santaroga Barrier and Destination: Void. This line of thinking reached its fruition in the novels Dune and Dune Messiah.
Having expanded his understanding of the full spectrum of consciousness about as far as it could go (although admittedly he never stopped tinkering with the subject), in the second half of his career Herbert refocused his attention on how the limitations imposed upon individual consciousness - or perhaps it might be better to say the limited perspective encompassing a single human lifetime - leaves humanity ill-equipped to confront an infinite and ever-changing universe. In effect we end up in a continuous crisis mode, always vainly insisting that the world of tomorrow conform to the expectations of yesterday. We're persistently and comically always shocked to discover our assumptions are wrong. Elsewhere I have described this aspect of Herbert's thinking, the human failure to deal with, or even to recognize, the implications of an unbounded universe, as an absolute-infinity breach. This theme begins to emerge in Children of Dune and is especially prominent in God Emperor of Dune, for a final surmounting of the absolute-infinity breach is the primary target of Leto II's Golden Path. But we also encounter the concern in Herbert's final trilogy: Heretics of Dune, Chapterhouse: Dune, and (by implication) in the unwritten Dune 7.
It is a hallmark of Herbert's imagination that he pursues an ever-elaborating expanse of concerns, always tracing a spectral pathway across a continuum of broadening bandwidth, chasing after considerations of widening implications across grander and grander scales of magnitude. An original interest in a fleeting moment of hyperconsciousness ultimately led Herbert into defining consciousness, hyperconsciousness and subconsciousness in all their aspects and dramatizing what he had learned and concluded in his stories; likewise his contemplations of the diverse implications of the absolute-infinity breach. And it might be added that he pushed his spectral analytical approach through time as well, so the Dune saga becomes probably the most temporally discontinuous series ever written. The first three novels take place roughly around the year 21,200 AD. The drama of God Emperor of Dune unfolds 3,500 years later, and that of the last three books (Heretics of Dune and Chapterhouse: Dune are difficult novels, and attempting to distinguish them as separate novels, or independent from the unwritten Dune 7, is an artificial and arbitrary exercise) takes place an additional 1,500 years after that, placing us circa 26,200 AD.
As the primary goal of Children of Dune and God Emperor of Dune was to shatter the innate mythmaking in humanity that compels us to conservative convergence, these last three books are intended to unveil the consequences of living in a multiverse that has become irreparably divergent. This divergence followed in the wake of the downfall of the God Emperor and the subsequent Scattering of humanity not throughout multiple star systems or galaxies, but across multiple universes which are discontinuous with one another. Any threat can now come upon our heroes and heroines from any direction, but with all the eggs no longer in one basket, no matter what catastrophe might befall locally, the whole story can never come to a final end.
In Heretics of Dune (1984) and Chapterhouse: Dune (1985), the Bene Gesserit has recovered substantially from the tribulation of the era of the God Emperor, and now we're allowed a far more intensive view of the inner workings of the Sisterhood than ever before. But the Bene Gesserit and the remnants of the old Imperium, as ever, are confronted by a host of power-hungry enemies, new and old, in the usual style of Herbert's Machiavellian plotting. It is these plots-within-plots that seemingly all other reviewers have focused on, and I'll forego doing the same here.
Herbert said it wasn't until he was writing Children of Dune that he came to understand that an important role of an author was to entertain his readership. That will come as surprising news to some of you who like Herbert, and not to some of you who don't. But it's important to note that the word "entertainment" carries different connotations for readers than it does for hacks or more seriously-aspiring authors. Entertainment is something that is doled out to the action-adventure-thriller crowd, to those who love reading or going to the movies in no small part for the sheer escapism of the thing. Now I'm not overly bigoted about this. There's nothing more boring than a book that's, well, boring. But I think what Herbert was getting at was that as he matured as a writer he came to see, as many writers do, that plot per se is less interesting than character, no matter how many car chases or lasgun exchanges are involved.
I for one can't separate a reading of the last books of the Dune series from knowledge of what was going on in Herbert's life as he wrote them, which he did, by that way, at an absolutely furious pace. This happened to be during the most stressful part of his entire life. His wife, Beverly, had been dying for ten years, and the last two years of her life were especially painful for her and for her husband, both physically and emotionally. I believe that, had he lived, Frank Herbert would have easily written the Dune 7 novel to complete the series. I am less sanguine that he could ever have written another coherent novel after that one.
By the time God Emperor of Dune was published in 1981, and with the signed contracts for the later Dune novels in hand, Herbert was financially secure but, as I've suggested, he was suffering from increasing emotional instability. Furthermore, I can't help believing he was struck by a supreme irony, which is that, like Paul Maud'Dib, he now found himself hemmed in by the conservative mythology of his own image which he himself had created. To this day you can still see this in reviews of his later books, wherein readers who were born after Herbert's death still bemoan the fact that his later books are not like Dune in style. Everyone wanted, and continues to want, Frank Herbert to write books that seem like quote-unquote Frank Herbert books: everyone wanted, and wants, Herbert to remain frozen unchanging in 1965. But in his later years Herbert, with his financial security, felt free to try to break out of that myth regardless of the demands and expectations of his fans, and for this I applaud him. I'm sure he did have basic plot elements in mind for the last three books of the series - call this the "entertainment" necessary to bring the masses along - but it's quite obvious that he had already grown more interested in character development than in weaving such masterful webs of palace intrigue anymore.
Herbert wanted to change course, but he had not yet found a new direction. I see hints of this in Children of Dune, in which Duncan Idaho tells Alia about the practice of setting out blocks of marble in the desert to be etched by the blowing sand of a Coriolis storm. Idaho argues that the sculpted pieces produced are beautiful but they are not art, as they are not carved according to human volition. But in the latter books it is Sheeana who creates an abstract sculpture she calls "The Void," which is art. How might these two kinds of sculpture compare? What is the symbolic significance of Sheeana's abstract work? The question is particularly relevant, it seems to me, when Sheeana's piece is recognized as a symbol set in tension with a Van Gogh which, at the end of Chapterhouse: Dune is carted off into a new, uncharted universe. Clearly, I think, the matter can be read as a form of self-psychoanalysis undertaken by the author. "The Void" is the primitive and unformed new expression welling up inside him; the old and familiar, even conventional Van Gogh has been let slip away with a fond farewell.
A kind of quantum uncertainty pervades Heretics of Dune and Chapterhouse: Dune which are, after all, a single story occupying multiple volumes. We do not have enough pieces to interpret this story, which must therefore remain finally unadjudicated and unjudgeable. This is because the unwritten Dune 7 was also to have comprised a full third of the complete tale. We can see that Herbert was bending writing to a new direction, and we can hazard some educated guesses about (entertaining) plot elements that would have informed the third book, but we can never know. The best we can do is ponder any written records or notes that Herbert may have left behind as poles in the sand to mark the path he intended to follow. Anyone who possesses any such notes, it seems to me, can be a good steward to the memory of Frank Herbert only by publishing them in unexpurgated form: lacking that, Herbert's career accomplishments can never be properly assessed. And that is an injustice to an important 20th century American writer.
Bob R Bogle
Author of Frank Herbert: The Works
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