In writing Dune, Frank Herbert drew inspiration from the nascent environmental movement, European feudalism, Middle Eastern oil politics, Zen Buddhism, and, perhaps less obviously, the mid-19th century Islamic holy war against Russian imperialism in the Caucasus, described in Lesley Blanch’s 1960 novel, The Sabres of Paradise:
Anyone who has obsessed over the mythology of Dune will immediately recognize the language Herbert borrowed from Blanch’s work. Chakobsa, a Caucasian hunting language, becomes the language of a galactic diaspora in Herbert’s universe. Kanly, from a word for blood feud among the Islamic tribes of the Caucasus, signifies a vendetta between Dune’s great spacefaring dynasties. Kindjal, the personal weapon of the region’s Islamic warriors, becomes a knife favored by Herbert’s techno-aristocrats. As Blanch writes, “No Caucasian man was properly dressed without his kindjal.”
Herbert is ecumenical with his borrowing, lifting terminology and rituals from both sides of this obscure Central Asian conflict. When Paul Atreides, Dune’s youthful protagonist, is adopted by a desert tribe whose rituals and feuds bear a marked resemblance to the warrior culture of the Islamic Caucasus, he lives at the exotically named Sietch Tabr. Sietch and tabr are both words for camp borrowed from the Cossacks, the Czarist warrior caste who would become the great Christian antagonists of Shamyl’s Islamic holy warriors.
Herbert also lifted two of Dune’s most memorable lines directly from Blanch. While describing the Caucasians’ fondness for swordplay, Blanch writes, “To kill with the point lacked artistry.” In Dune, this becomes “[k]illing with the tip lacks artistry,” advice given to a young Paul Atreides by a loquacious weapons instructor. A Caucasian proverb recorded by Blanch transforms into a common desert aphorism. “Polish comes from the city, wisdom from the hills,” an apt saying for a mountain people, becomes “Polish comes from the cities, wisdom from the desert” in Dune.
Dune’s narrative, however, owes more to The Sabres of Paradise than just terminology and customs. The story of a fiercely independent, religiously inspired people resisting an outside power is certainly not unique to the Caucasus, but Blanch’s influence can be found here, too. The name of Herbert’s major villain, Baron Vladimir Harkonnen, is redolent of Russian imperialism. Meanwhile, Imam Shamyl, the charismatic leader of Islamic resistance in the Caucasus, describes the Russian Czar as “Padishah” and his provincial governor as “Siridar,” titles that Herbert would later borrow for Dune’s galactic emperor and his military underlings.
There are even some interesting echoes of Blanch’s writing style and tendencies in Herbert’s book. Both authors traffic in evocative descriptions of stark, unforgiving landscapes and equally unforgiving peoples. And their shared tendency to describe their protagonists in raptor-like terms may not be a coincidence. (For Blanch, the Caucasus was a land of “eagle-faced warriors” and Imam Shamyl was possessed of “handsome eagle features.” Naturally, the Atreides are also notable for their “hawk features.”) Even Dune’s colors owe something to Blanch’s history. The banners of House Atreides are green and black. The first is, of course, the color of Islam and the second was adopted by Imam Shamyl’s Murids, holy Islamic warriors pledged to fight Russian imperialism to the death.
One of the biggest differences between the classics of SF&F and modern derivative works is that their authors borrowed from outside the genre:
Science fiction and fantasy have always been syncretic genres. The extravagant world-building that fires the imagination of so many readers would be nearly impossible if authors refused to seek inspiration in our own histories, religious traditions, and myths. Isaac Asimov’s Foundation trilogy was famously inspired by Edward Gibbon’s Decline and Fall of the Roman Empire. J. R. R. Tolkien’s background in medieval languages helped shape the mythology of Middle Earth. Frank Herbert’s Dune is no different, and rediscovering one of the book’s most significant influences is a rewarding experience. At a time when our most popular science fiction sagas have been reduced to cannibalizing themselves, we would do well to celebrate genre pioneers who were more ambitious in their borrowing.