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Quote by Frank Herbert

“She stills all storms- Her eyes kill our enemies, And torment the unbelievers. From the spires of Tuono Where dawnlight strikes And clear water runs, You see her shadow. In the shining summer heat She serves us bread and milk- Cool, fragrant with spices. Her eyes melt our enemies, Torment our oppressors And pierce all mysteries. She is Alia. . . Alia. . . Alia. . .”

Quote by Frank Herbert

Work

Dune Messiah

In 'Dune Messiah,' the protagonist Paul Atreides faces the challenges of his new role as the messiah of a distant planet. The novel delves into themes of power, religion, and the human condition, expanding upon the intricate political landscape and philosophical musings established in the original 'Dune'. more

Author

Frank Herbert
Frank Herbert

Frank Herbert, born on October 8, 1920, was an influential science fiction author from the United States. His masterpiece 'Dune' is considered a classic in the science fiction genre and has had a profound impact on literature and society. more

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“We criticize Americans for not being able either to analyse or conceptualize. But this is a wrong-headed critique. It is we who imagine that everything culminates in transcendence, and that nothing exists which has not been conceptualized. Not only do they care little for such a view, but their perspective is the very opposite: it is not conceptualizing reality, but realizing concepts and materializing ideas, that interests them. The ideas of the religion and enlightened morality of the eighteenth century certainly, but also dreams, scientific values, and sexual perversions. Materializing freedom, but also the unconscious. Our phantasies around space and fiction, but also our phantasies of sincerity and virtue, or our mad dreams of technicity. Everything that has been dreamt on this side of the Atlantic has a chance of being realized on the other. They build the real out of ideas. We transform the real into ideas, or into ideology.”

“The United States is utopia embodied. You should not judge their crisis in the same way as we judge ours – the crisis of the old European countries. We have a crisis of historical ideals caused by the impossibility of realizing them. They have a crisis of a realized utopia as a consequence of its duration and continuity. The idyllic conviction of Americans that they are the center of the world, a higher power and an absolute role model is not such a delusion. It is based not so much on technological resources and military forces as on a miraculous belief in the existence of an embodied utopia – a society that, with what it may seem unbearable innocence, is based on the idea that it has achieved everything that others only dreamed of: justice, abundance, rights, wealth, freedom; America knows it, it believes it, and in the end, others also believe it.”

“the postmodern trajectory itself is a rather humorous joke on the human race which laboured for millennia to reduce working hours in order to produce leisure so we could enjoy this very leisure that then turns in a kind of vengeful act against us absorbing our leisure time, which was to be our living time, into time now spent in the service of what can only be called this inhuman spectacle”

“It is like truth according to Nietzsche: we no longer believe that the truth is true when all its veils have been removed. Similarly, we do not believe that war is war when all uncertainty is supposedly removed and it appears as a naked operation. The nudity of war is no less virtual than that of the erotic body in the apparatus of striptease.”

“Baudrillard argues that there used to be a time when the role of objects was primarily to signify rather than to function. Thus, the symbolic structure of the traditional domestic ambience reflected the rituals and traditions of the socio-political order, arranged according to prescriptive and unchanging rules based on, and extracted from, ‘tradition and authority, and whose heart is the complex affective relationship that binds all the family members together […] Hence, the fixed and immovable meanings with which these objects were endowed: if mirrors and family portraits symbolized a particular sense of introspection and enclosure, the clock crowning the marble mantelpiece symbolized both the hierarchical structure of the family and the permanence of time. Linked to one meaning and one meaning only, every object of the traditional domestic interior can thus be understood as theatrical and ceremonial, thus occupying a specific place within the domestic interior exactly as family members occupy a specific position in their corresponding family tree.”