Name: Dune Messiah
Rating: 3.889285714285714 (420 reviews)
ISBN: 9780593098233

Frank Herbert

Book Two in the Magnificent Dune Chronicles--the Bestselling Science Fiction Adventure of All Time Dune Messiah continues the story of Paul Atreides, better known--and feared--as the man christened Muad'Dib. As Emperor of the known universe, he possesses more power than a single man was ever meant to wield. Worshipped as a religious icon by the fanatical Fremen, Paul faces the enmity of the political houses he displaced when he assumed the throne--and a conspiracy conducted within his own sphere of influence. And even as House Atreides begins to crumble around him from the machinations of his enemies, the true threat to Paul comes to his lover, Chani, and the unborn heir to his family's dynasty...

Dune Messiah

Holly 

Jasper

I know Frank wrote 'Messiah' because people did not get the message from 'Dune', but after finishing the book proper, it's more a lamentation and regret in Paul's part than what I imagined it to be (I guess Villeneuve's Dune gave me a certain expectation). I thought it would read like the final arc of 'Attack on Titan' with Paul acting like Eren Jaeger killing everyone opposing him while we are following the assassination plots headed by different people: Irulan for the Bene Gesserit and Chani for the the Fremen. There is almost no action, unlike 'Dune'. Political maneuvering was non-existent because Paul already 'won'. Most importantly, I don't like the the resolution of Hayt/Idaho 'Winter Soldier' moment (that's the comparison I know, okay?). Chani had almost no role (again, my expectations were painted by Villeneuve's Dune) and she's dead just to give birth to Leto II and Ghanima. I thought there's a twist somewhere regarding her death, but no. She's dead.

It's a 'hate it or love it' book, to be honest. Maybe I'm just too modern of a reader since I like direct, word-by-word action rather than implied action. Or maybe I got too high of an expectation, and got disappointed by it.

Alfian Shan Tanggono

I know Frank wrote 'Messiah' because people did not get the message from 'Dune', but after finishing the book proper, it's more a lamentation and regret in Paul's part than what I imagined it to be (I guess Villeneuve's Dune gave me a certain expectation). I thought it would read like the final arc of 'Attack on Titan' with Paul acting like Eren Jaeger killing everyone opposing him while we are following the assassination plots headed by different people: Irulan for the Bene Gesserit and Chani for the the Fremen. There is almost no action, unlike 'Dune'. Political maneuvering was non-existent because Paul already 'won'. Most importantly, I don't like the the resolution of Hayt/Idaho 'Winter Soldier' moment (that's the comparison I know, okay?). Chani had almost no role (again, my expectations were painted by Villeneuve's Dune) and she's dead just to give birth to Leto II and Ghanima. I thought there's a twist somewhere regarding her death, but no. She's dead.

It's a 'hate it or love it' book, to be honest. Maybe I'm just too modern of a reader since I like direct, word-by-word action rather than implied action. Or maybe I got too high of an expectation, and got disappointed by it.

Henry Sorensen

I’ve heard it said that Frank Herbert was tired of people not getting Dune so he wrote this book. Ngl I still don’t get it Frank sorry

Book Two in the Magnificent Dune Chronicles—the Bestselling Science Fiction Adventure of All Time Dune Messiah continues the story of Paul Atreides, better known—and feared—as the man christened Muad’Dib. As Emperor of the known universe, he possesses more power than a single man was ever meant to wield. Worshipped as a religious icon by the fanatical Fremen, Paul faces the enmity of the political houses he displaced when he assumed the throne—and a conspiracy conducted within his own sphere of influence. And even as House Atreides begins to crumble around him from the machinations of his enemies, the true threat to Paul comes to his lover, Chani, and the unborn heir to his family’s dynasty...

I adore Frank Herbert’s flavor of character interiority, and the politics and the examinations of power. Also, the Greek tragedy thing (laying out everything that’s going to happen from the beginning and making every part of the story thrilling without relying on surprises and twists) really does it for me.

Considering how much the mechanics expanded and the world grew, I was a little disappointed that most of the plot zoomed in to this really tight scope, staying close to a very limited number of characters. It just felt less ~epic~ than the first book. Easier to grasp, but I don’t know if I read Frank Herbert for “easy to grasp”. It made this sequel feel like it existed more to explain Dune and bridge into the second than being fully its own thing.

Anyway. It still packed a punch and I’ll probably read all of these.

Grace McCarter

I adore Frank Herbert’s flavor of character interiority, and the politics and the examinations of power. Also, the Greek tragedy thing (laying out everything that’s going to happen from the beginning and making every part of the story thrilling without relying on surprises and twists) really does it for me.

Considering how much the mechanics expanded and the world grew, I was a little disappointed that most of the plot zoomed in to this really tight scope, staying close to a very limited number of characters. It just felt less ~epic~ than the first book. Easier to grasp, but I don’t know if I read Frank Herbert for “easy to grasp”. It made this sequel feel like it existed more to explain Dune and bridge into the second than being fully its own thing.

Anyway. It still packed a punch and I’ll probably read all of these.

DUNE MESSIAH is the True Masterpiece of the Arrakis Cycle.

​When DUNE MESSIAH was published in 1969, it famously polarized an audience expecting another sweeping hero’s journey. Where DUNE was an epic of mythic proportions—a triumphant, world-building marvel—DUNE MESSIAH is something far more daring, uncomfortable, and intellectually profound. While the original remains an undisputed masterpiece, MESSIAH is the true game-changer of the franchise. It is the crucial axis upon which FRANK HERBERT'S entire thematic thesis turns, dissecting the terrifying mechanics of charisma, power, and predestination with surgical precision.

​​Where DUNE builds an empire, MESSIAH exposes the price of its foundation. Set twelve years after PAUL ATREIDES seized the IMPERIAL THRONE, the narrative opens not with grand battles, but in dark rooms where power is contested through intrigue and existential dread.

​"TO KNOW A THING WELL IS TO KNOW IT'S LIMITATIONS. ONLY FOR TOTAL IGNORANCE IS THERE ANY SUCH THING AS TOTAL CERTAINTY."

​The novel’s opening immediately establishes a shift from physical warfare to psychological and political chess. The conspiracy between the SPACING GUILD, the BENE GESSERIT, the TLEILAXU, and PRINCESS IRULAN reads like a classic tragedy. The presence of the FACE DANCER SCYTALE and the GUILD NAVIGATOR EDRIC introduces an eerie, claustrophobic atmosphere. They are not merely plotting regicide; they are attempting to entrap a GOD-KING whose very omniscience is the cage that locks him in. ​PAUL ATREIDES rules a universe that worships him, yet he is completely trapped by the bloody momentum of his own jihad. HERBERT elevates PAUL'S prescience from a narrative superpower to a tragic burden. PAUL'S vision of the "FALLINNG MOON"—a terrifying metaphor for his inescapable destiny and the inevitable collapse of his mythos—captures the haunting weight of foresight:

"HE WAS A CREATURE OF THE FUTURE, TRAPPED IN A PRESENT THAT WAS PETPETUALLY SLIPPING AWAY INTO HISTORY."

​​In one of the most chilling and intellectually provocative scenes in speculative fiction, PAUL casually contextualizes his galactic JIHAD against EARTH'S deadliest historical conquerors during a conversation with STILGAR. Mentioning GENGHIS KHAN and ADOLF HITLER, PAUL notes that while they killed millions, his JIHAD has consumed over sixty billion lives. HERBERT forces the reader to confront a horrifying reality: PAUL is not a traditional savior, but a cosmic catastrophe whose good intentions could not halt the unstoppable machine of religious fanaticism. ​The detonation of the stoneburner atomic device during the attack in OOTHEKE is a masterclass in tension and tragic irony. Blinded physically by the radioactive radiation, PAUL'S prescience steps in to replace his physical sight. He walks through the world perceiving every movement, word, and shadow exactly as his visions foretold—a terrifying demonstration of SUPREME POWER bound to absolute determinism.

The climax in CHANI'S bedchamber reaches a fever pitch of tension. With CHANI dead after giving birth to TWINS, SCYTALE holds a knife to the infants, offering PAUL a ghastly bargain: a ghola clone of CHANI in exchange for PAUL'S abdication. When PAUL, completely stripped of his prescient sight, sees through the eyes of his newborn son LETO II to hurl a crysknife through SCYTALE'S head, HERBERT delivers an unforgettable resolution—a violent, poetic transcendence of prescience itself.

​FRANK HERBERT'S writing in MESSIAH reaches an extraordinary level of literary maturity. His prose is dense, aphoristic, and richly layered, reading less like standard pulp science fiction and more like an ancient, philosophical text or a Shakespearean tragedy.

HERBERT begins chapters with excerpts from in-universe historical texts, religious commentaries, and court journals (often from the pen of HAYT/DUNCAN IDAHO or BRONSO of IX). These epigraphs build a haunting sense of historical inevitability.

HERBERT treats language as a tool of subversion. Phrases like "THE BUREAUCRACY IS EXPANDING TO MEET THE NEEDS OF THE EXPANDING BUREACRACY" showcase his razor-sharp sociopolitical commentary, while his descriptions of prescience feel poetic, terrifying, and deeply psychological.

"EMPIRES DO NOT SUFFER EMPTINESS OF PURPOSE AT THE TIME OF THEIR CREATION. IT IS WHEN THEY HAVE BEEN ESTABLISHED THAT DINNER COINS ARE PRESSED AND THECSTOMACH RULES THE MIND."

​While DUNE provided the grand spectacle and universe-building, DUNE MESSIAH provides the subversion that makes the entire saga legendary. ​DUNE could be misread as a traditional hero’s triumph if taken in isolation. MESSIAH acts as HERBERT'S deliberate, brilliant corrective, showing the horrifying consequences of following charismatic leaders to their logical conclusion.

Replacing broad desert warfare with political paranoia, psychological torture, and ideological decay creates a far tighter, more immediate narrative.

​PAUL'S final act—walking alone into the deep desert as a blind man, adhering to Fremen law—is one of the most poignant character exits in modern literature. He rejects his own divinity to preserve his humanity.

​"PAUL WALKED INTO THE DESERT NIGHT, BLIND, YET SEEING A PATH THAT NO OTHER MAN COULD WALK."

​DUNE MESSIAH is not merely a sequel; it is the essential companion that elevates the original work from a grand SCI-FI adventure into a timeless masterclass on power, fate, and human vulnerability. FRANK HERBERT challenged his readers by dismantling the very hero he spent an entire novel building—and in doing so, created one of the most haunting, intellectually rich masterpieces in speculative fiction.

James

DUNE MESSIAH is the True Masterpiece of the Arrakis Cycle.

​When DUNE MESSIAH was published in 1969, it famously polarized an audience expecting another sweeping hero’s journey. Where DUNE was an epic of mythic proportions—a triumphant, world-building marvel—DUNE MESSIAH is something far more daring, uncomfortable, and intellectually profound. While the original remains an undisputed masterpiece, MESSIAH is the true game-changer of the franchise. It is the crucial axis upon which FRANK HERBERT'S entire thematic thesis turns, dissecting the terrifying mechanics of charisma, power, and predestination with surgical precision.

​​Where DUNE builds an empire, MESSIAH exposes the price of its foundation. Set twelve years after PAUL ATREIDES seized the IMPERIAL THRONE, the narrative opens not with grand battles, but in dark rooms where power is contested through intrigue and existential dread.

​"TO KNOW A THING WELL IS TO KNOW IT'S LIMITATIONS. ONLY FOR TOTAL IGNORANCE IS THERE ANY SUCH THING AS TOTAL CERTAINTY."

​

​The novel’s opening immediately establishes a shift from physical warfare to psychological and political chess. The conspiracy between the SPACING GUILD, the BENE GESSERIT, the TLEILAXU, and PRINCESS IRULAN reads like a classic tragedy. The presence of the FACE DANCER SCYTALE and the GUILD NAVIGATOR EDRIC introduces an eerie, claustrophobic atmosphere. They are not merely plotting regicide; they are attempting to entrap a GOD-KING whose very omniscience is the cage that locks him in. ​PAUL ATREIDES rules a universe that worships him, yet he is completely trapped by the bloody momentum of his own jihad. HERBERT elevates PAUL'S prescience from a narrative superpower to a tragic burden. PAUL'S vision of the "FALLINNG MOON"—a terrifying metaphor for his inescapable destiny and the inevitable collapse of his mythos—captures the haunting weight of foresight:

​

"HE WAS A CREATURE OF THE FUTURE, TRAPPED IN A PRESENT THAT WAS PETPETUALLY SLIPPING AWAY INTO HISTORY."

​​In one of the most chilling and intellectually provocative scenes in speculative fiction, PAUL casually contextualizes his galactic JIHAD against EARTH'S deadliest historical conquerors during a conversation with STILGAR. Mentioning GENGHIS KHAN and ADOLF HITLER, PAUL notes that while they killed millions, his JIHAD has consumed over sixty billion lives. HERBERT forces the reader to confront a horrifying reality: PAUL is not a traditional savior, but a cosmic catastrophe whose good intentions could not halt the unstoppable machine of religious fanaticism. ​The detonation of the stoneburner atomic device during the attack in OOTHEKE is a masterclass in tension and tragic irony. Blinded physically by the radioactive radiation, PAUL'S prescience steps in to replace his physical sight. He walks through the world perceiving every movement, word, and shadow exactly as his visions foretold—a terrifying demonstration of SUPREME POWER bound to absolute determinism.

​

The climax in CHANI'S bedchamber reaches a fever pitch of tension. With CHANI dead after giving birth to TWINS, SCYTALE holds a knife to the infants, offering PAUL a ghastly bargain: a ghola clone of CHANI in exchange for PAUL'S abdication. When PAUL, completely stripped of his prescient sight, sees through the eyes of his newborn son LETO II to hurl a crysknife through SCYTALE'S head, HERBERT delivers an unforgettable resolution—a violent, poetic transcendence of prescience itself.

​

​FRANK HERBERT'S writing in MESSIAH reaches an extraordinary level of literary maturity. His prose is dense, aphoristic, and richly layered, reading less like standard pulp science fiction and more like an ancient, philosophical text or a Shakespearean tragedy.

​

HERBERT begins chapters with excerpts from in-universe historical texts, religious commentaries, and court journals (often from the pen of HAYT/DUNCAN IDAHO or BRONSO of IX). These epigraphs build a haunting sense of historical inevitability.

​

HERBERT treats language as a tool of subversion. Phrases like "THE BUREAUCRACY IS EXPANDING TO MEET THE NEEDS OF THE EXPANDING BUREACRACY" showcase his razor-sharp sociopolitical commentary, while his descriptions of prescience feel poetic, terrifying, and deeply psychological.

​

"EMPIRES DO NOT SUFFER EMPTINESS OF PURPOSE AT THE TIME OF THEIR CREATION. IT IS WHEN THEY HAVE BEEN ESTABLISHED THAT DINNER COINS ARE PRESSED AND THECSTOMACH RULES THE MIND."

​

​While DUNE provided the grand spectacle and universe-building, DUNE MESSIAH provides the subversion that makes the entire saga legendary. ​DUNE could be misread as a traditional hero’s triumph if taken in isolation. MESSIAH acts as HERBERT'S deliberate, brilliant corrective, showing the horrifying consequences of following charismatic leaders to their logical conclusion.

​

Replacing broad desert warfare with political paranoia, psychological torture, and ideological decay creates a far tighter, more immediate narrative.

​PAUL'S final act—walking alone into the deep desert as a blind man, adhering to Fremen law—is one of the most poignant character exits in modern literature. He rejects his own divinity to preserve his humanity.

​"PAUL WALKED INTO THE DESERT NIGHT, BLIND, YET SEEING A PATH THAT NO OTHER MAN COULD WALK."

​

​DUNE MESSIAH is not merely a sequel; it is the essential companion that elevates the original work from a grand SCI-FI adventure into a timeless masterclass on power, fate, and human vulnerability. FRANK HERBERT challenged his readers by dismantling the very hero he spent an entire novel building—and in doing so, created one of the most haunting, intellectually rich masterpieces in speculative fiction.

Not quite as great as the first one but still very much enjoyable. This feels like a great continuation of the first book. At some point it gets just a bit too chaotic for my taste.

Still I highly recommend this to anyone who has read the first book and still craves for more of Muad'Dibs story :)

Joschka

Not quite as great as the first one but still very much enjoyable. This feels like a great continuation of the first book. At some point it gets just a bit too chaotic for my taste.

Still I highly recommend this to anyone who has read the first book and still craves for more of Muad'Dibs story :)

Johanam Abdalla

Jacob

“If I could only burn this thing out of me!” she cried. “I didn’t want to be different.” “Please, Alia,” he murmured. “Let yourself sleep.” “I wanted to be able to laugh,” she whispered. Tears slid down her cheeks. “But I’m sister to an Emperor who’s worshipped as a god. People fear me. I never wanted to be feared.” He wiped the tears from her face. “I don’t want to be part of history,” she whispered. “I just want to be loved … and to love.” Oh my heart. The best passage in the entire Dune saga. Alia is my favorite character and this is when I came to that conclusion. She is so tragic and my heart breaks for her so much here. It breaks even more in Children during that “one” chapter where she’s confronting her Other Memory. There are very few characters in fiction as tragic as St Alia of the Knife. This whole book is sad. What a terrible story, but how beautiful the journey was. Frank Herbert really knows how to tug on the heart strings. What an author.

Clearly such a let-down compared to the first book... It was definitely a bad idea to cut the most interesting character: the Lady Jessica. I'm curious to see how this book could possibly be adapted for a movie, but I'm quite sure it won't work out.

Gemma

that bit about his sister was weird right, I sure hope no stuff like that happens in the future books. 

Lukas

Of course it's hard to follow up on the masterpiece that is the first Dune but I would say that Herbert still disappoints in a lot of ways. 

What I did like was the constant subversion of expectations throughout, and the playing off fate and vision. His world also gets much more interesting with every new detail he adds. Much like the first book, I found this book redeemed by the last 80 pages or so but that still leaves a lot of fat (in an already short and well paced book) in the first 200 pages. 

I think that there is really good bones for a story in this novel but I think that Herbert's storytelling stands out as being the weakest link.  

I think that the movie adaptation (fingers crossed) will easily surpass this book in terms of raw quality, and storytelling. 

Derek Graf

Honestly closer to a 2.5 than a 3.5. 

Of course it's hard to follow up on the masterpiece that is the first Dune but I would say that Herbert still disappoints in a lot of ways. 

What I did like was the constant subversion of expectations throughout, and the playing off fate and vision. His world also gets much more interesting with every new detail he adds. Much like the first book, I found this book redeemed by the last 80 pages or so but that still leaves a lot of fat (in an already short and well paced book) in the first 200 pages. 

I think that there is really good bones for a story in this novel but I think that Herbert's storytelling stands out as being the weakest link.  

I think that the movie adaptation (fingers crossed) will easily surpass this book in terms of raw quality, and storytelling. 

Smaller world-building but well-paced. I really don't like Paul. I'm interested to see the movie adaptation.

Susan

Much like the first book, this took me so long to finish only because I got reading slump in the middle of reading it. I just really admire the worldbuilding that Frank Herbert did for Dune, and I think my little brain can understand better now not only because I've read the first book but the movies also helped! Duncan Idaho is my favorite always but Paul's character arc in this is so yummy in a miserable way that I just love. This book is just full of SADNESS and Paul going through all stages and types of griefs fr I feel bad for bro... The weird turn of relationship between Alia and Duncan is straight up my alley btw...

🦌

This is a sequel that generally disappoints, mostly because the expectations are so high following a masterpiece. It is an exploration of the aftermath of placing absolute faith into a leader. While I can understand this as a response to the idolization of Paul and within the context of its release, much of the dialogue is uninteresting. I did not feel like I needed this book in the series; the subtext was present in the first one. I’m interested to see if I feel different after reading the next book!

My highlights: I enjoyed Hayt, I can see the line “A mentat requires data” becoming a meme, more Alia screen time, and the later parts of the novel after Paul is inflicted. 

Jevin Sidhu

This is a sequel that generally disappoints, mostly because the expectations are so high following a masterpiece. It is an exploration of the aftermath of placing absolute faith into a leader. While I can understand this as a response to the idolization of Paul and within the context of its release, much of the dialogue is uninteresting. I did not feel like I needed this book in the series; the subtext was present in the first one. I’m interested to see if I feel different after reading the next book!

My highlights: I enjoyed Hayt, I can see the line “A mentat requires data” becoming a meme, more Alia screen time, and the later parts of the novel after Paul is inflicted. 

He really did Chani dirty in this one NGL

Terra Ganey

Chris Dailey

The sequel to Sci-Fi's "supreme masterpiece" is subtler and more introspective but every bit as moving as the first installment. Focusing on the pitfalls and dangers of Heroes, the novel follows the aftermath of Paul Atriedies's jihad. Devastation of planets by his fanatical Fremen have left billions dead and Muab'did is left to question its necessity and if he could have stopped it. It's full the mind-bending imagery, complex character and simmers until it explodes into a boil. Expanding on the themes of the original, Messiah explores religion, greed, conquest, family, culture and free will (or the lack thereof). A standout of science fiction and the Kid A to Dune's OK Computer.

Jafe

definitely worth it

While not as epic as the first novel in the series, this is still of course written excellently. The character development is superb, and the plot may feel linear but there is a story to be told and a lesson Herbert wants us to learn about religion, government, the ego, love, and sacrifice.

“The Mother of Chaos was born in a sea… He watched me with eyes that knew I had learned something which was denied to him. I had become a sea creature and I frightened him. The sea healed me of the Jihad and I think he saw this.” (pg. 62)

“A touch of prescience came over Idaho then, and he saw that people of the future would speak of Paul in terms of seas. Despite a life soaked in dust, water would follow him. ‘His flesh floundered,’ they would say, ‘but he swam on.’” (pg. 325)

Bailee Strong

“The Mother of Chaos was born in a sea… He watched me with eyes that knew I had learned something which was denied to him. I had become a sea creature and I frightened him. The sea healed me of the Jihad and I think he saw this.” (pg. 62)

“A touch of prescience came over Idaho then, and he saw that people of the future would speak of Paul in terms of seas. Despite a life soaked in dust, water would follow him. ‘His flesh floundered,’ they would say, ‘but he swam on.’” (pg. 325)

Stronger, richer than the first. The title of messiah and all of its implications weigh heavy on just one man, who realizes the burden of what he’s created. Explores the duality of people in power—for those who are in prime positions yet want to be rid of it, and those who will clamor to keep these positions in their grasp. Fantastic, just fantastic.

Mattea Marjorie

Honestly think I read about a third of this too late at night and had trouble, in a state of stupid half-consciousness, following the heady language and conspiratorial plot. But damn is 

compelling and tragic. A classic sequel in that it carries on the themes of the first—all of the messianic foreboding and psychedelic weirdness—and turns it all up to eleven. It takes a pivot, though, in genre, trading most of the adventurous action for quieter, political intrigue. Yet it retains much of the excitement and inventiveness of its predecessor. 

I think this one could grew on me even more with a revisit. (I feel the same about the first.) But first, I’m excited to continue on with the next books in the series, even if this does seem to offer a satisfying end to the story of Paul Muad’Dib. 

Michael Klepacki

Honestly think I read about a third of this too late at night and had trouble, in a state of stupid half-consciousness, following the heady language and conspiratorial plot. But damn is Dune Messiah compelling and tragic. A classic sequel in that it carries on the themes of the first—all of the messianic foreboding and psychedelic weirdness—and turns it all up to eleven. It takes a pivot, though, in genre, trading most of the adventurous action for quieter, political intrigue. Yet it retains much of the excitement and inventiveness of its predecessor. 

I think this one could grew on me even more with a revisit. (I feel the same about the first.) But first, I’m excited to continue on with the next books in the series, even if this does seem to offer a satisfying end to the story of Paul Muad’Dib. 

Just like Dune, this is beautifully written. My favorite sections of this book are when the inner lives of the characters are explored, the thoughts processes and turmoil that runs through their minds. 

Rachel Stratton

DUNE MESSIAH: the extraordinary sequel to Dune, the greatest science fiction novel of all time. Twelve years after his victory over House Harkonnen, Paul Atreides rules as emperor from the desert planet Arrakis - but his victory has had profound consequences. War has been brought to the entire known universe, and billions have already perished. Despite having become the most powerful emperor known to history, Paul is powerless to bring an end to the fighting. While former allies conspire to dethrone Paul and even his own consort acts against him, Paul accepts a gift from the Tleilaxu, a guild of genetic manipulators, hoping to find a single spark of peace and friendship amidst the betrayal and chaos. But this act undermines Paul's support from the Fremen, his own people. The Fremen are the true source of Paul's power; losing them is the one thing that could truly topple his empire. As matters escalate, Paul will be forced to chose between his throne, his wife, his people and his future - and the future of the entire universe. An epic novel of the cost of victory... and the price of war. Brilliant...it is all that Dune was, and maybe a little more. -- Galaxy Magazine

Aan het begin vond ik het boek wel taai omdat het zo ingewikkeld was. Maar toen ik er halverwege inzat pakte ik goed door. De foreshadowing en worldbuilding is echt heel goed in deze serie. Het einde had ik niet verwacht en in mijn ogen heeft Paul zich redemed(voor nu dan, geen idee wat er nog verder gaat gebeuren) Ik ben vrij benieuwd naar het volgende boek.

Bart Veldhuijsen 

ryan carlos tsumire de Guzman

It might just speak to the mythical quality of Herbert's storytelling, but what this long epilogue is able to accomplish is both surprising and unforgiving. My brain and heart hurt.

Dune Messiah

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