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If you stop at the end of Dune you'll get the idea it is one kind of story, when it is really kind of an indictment of that kind of story.
FH: And there’s a point here that I think should be made. Campbell turned down the sequel. Now his argument was that I had created an anti-hero in Paul in the sequel, and he has built his magazine…I’m…’I’m oversimplifying…grossly oversimplifying. WM: Sure. FH: But this is the essence of it really and truthfully accurate… WM: Yes. FH: That he had built his magazine on the hero. Now it’s my contention that the difference between a hero and an anti-hero is where you stop the story, and if you’re true to life, if you’re true to life, giving these ingredients, then the story goes on, because human beings go on. Now, you can confine your story to one individual, and therefore as far as he’s concerned the story begins with birth and ends with death. But if you’re dealing with larger movements... WM: The parameters are much broader. FH: That’s rihgt…as they are in this book. WM: Yes. FH: Then there is no real ending. It’s just the place where you stop the story. And one of the reasons, by the way, why in the book “Dune” I stop it the way I do, deliberately building up a carrying momentum, as though you were going down a slide and then just chopping it… WM: To a moment of triumph and than that’s it… FH: And then you skid out of the story with all of this clinging to you.