[Herbert] walks a narrow line between entertainment and didacticism. In his best work, such as Dune, the story itself is the message; the concepts are so completely a part of the imaginative world he has created that the issue of didacticism never arises. Ideas are there to be found by the thoughtful reader, but one never stumbles over them. Other works, however, are sometimes unnecessarily obscure. Herbert's shorter novels in particular lack the development of story and character to support the weight of the ideas they contain. (p. vii)
Herbert's work is informed by an evolving body of concepts to which the Dune trilogy holds the key. By tracing some of these central ideas, their sources, and their development from purpose to final form, it is possible to show how Herbert framed them with stories that insist that the reader use the concepts they contain. (p. 2)
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