
iw: 
איש עומד מעל החוליות בפלורנס
צופה במשבי החול.
פעם, דבר לא גדל כאן.
החוליות נעו וחלפו,
גדלו והתפשטו.
אך עתה, דשא גדל כאן.
בני אדם הביאו אותו לראשונה
כדי לעגן את החוליות
לשמור עליהן יציבות.
להפוך אותן למשהו אחר.
זה נותן לאיש רעיון.
אקסטרה מד"ב
השנה הייתה 1957,
האיש, פרנק הרברט.
אפילו אם הייתם קנאי מד"ב אז
סביר להניח שלא ידעתם את שמו.
בשלב הזה הוא כתב רק רומן אחד.
"הדרקון בים".
סיפור בעתיד הקרוב,
על עולם שמשאביו אוזלים,
כשצוותי צוללות מהמערב
מנסים לגנוב
עתודות נפט תת-ימיות מהמזרח,
לתדלוק מלחמתם המתמשכת.
בעוד שיצא לאור לראשונה
במגזין "מרהיבים"
סביר שתמצאו אותו
במדור מתח היום

Portuguese: 
(Desative as legendas usando o sinal [CC] ao lado de ⚙)
Um homem está acima das dunas de Florence, a vêr
a areia a voar com o vento. Antes, nada crescia aqui. As dunas moviam-se
e mudavam, cresciam e espalhavam-se. Mas agora, relva cresce
Aqui. Foi introduzida por humanos para âncorar as dunas,
para mantê-las estáveis, para transformá-las em algo diferente.
Isso dá ao homem uma ideia.
♪ "Hypothetical" por Surasshu ♪
O ano era 1957. O homem: Frank Herbert. Mesmo se fosse
um fanático por ficção científica naquela altura, é improvável que
conhecesse o seu nome. Por esta altura, ele ainda só tinha
um livro publicado: The Dragon in the Sea - uma história
num futuro próximo de um mundo sem recursos, onde
tripulações de submarinos do Ocidente tentavam roubar
reservas de petróleo subaquáticas do Oriente para alimentar sua
guerra. Embora tenha sido publicado pela primeira vez na revista Astounding,
é tão provável encontrá-lo na secção de thrillers,

English: 
(Turn these off using the [CC] next to the ⚙)
A man stands above the Florence dunes, watching the
sand blow. Once, nothing grew here. The dunes moved
and shifted, grew and spread. But now, grass grows
here. It was introduced by humans to anchor the dunes,
to keep them stable, to make them into something else.
This gives the man an idea.
♪ "Hypothetical" by Surasshu ♪
The year was 1957. The man: Frank Herbert. Even if you
were a science fiction fanatic back then, it's unlikely that
you'd have known his name. At this point, he'd only
written one novel: The Dragon in the Sea - a near-future
story about a world running out of resources, where
submarine crews from the West tried to steal
underwater oil reserves from the East to fuel their
ongoing war. While it was first published in Astounding,
you're as likely to find it in the thriller section today as

Portuguese: 
como na secção de ficção ciêntífica. Mas ele, naquelas dunas,
estava à procura duma nova história. Mas não uma de ficção científica.
Na verdade, ele foi àquelas dunas por uma
razão bem diferente. Aliás, ele passou grande parte da sua carreira como um
jornalista, e ele tinha saído para a costa do Oregon na
esperança de conseguir que alguma revista o pagasse para
escrever um artigo que contasse como as dunas estavam a ser reclamadas.
A verdade era que na verdade era ainda mais simples do que isso. Ele
estava realmente lá principalmente na esperança de encontrar
alguém para que o subscrevêsse para que ele pudesse estar mais perto da sua
mulher, que morava em Florence, Oregon na época. Mas
a imagem dessas dunas, numa foto que ele tirou enquanto a sua
pequena avioneta subia aos céus acima deles,
tornando-se ondulações douradas num belo oceano de
areia, ficaria com ele. Dune não seria concluída
senão anos depois. Perpetuamente falido, ele tornar-se-ia um
escritor de discursos políticos, tentaria a sua sorte e falharia em escrever para a
TV, aprenderia sobre zen, mudar-se-ia para São Francisco e voltaria para a
indústria jornalística como editor noturno do San

English: 
you are in the sci-fi shelves. But he, out on those dunes,
was looking for a new story. Not a sci-fi story, though.
He'd actually gone to those dunes for a very different
purpose. You see, he'd spent much of his career as a
journalist and he'd gone out to the Oregon coast in
hopes that he could get some magazine to pay him to
do a story about how the dunes were being reclaimed.
Truth was, it was actually even simpler than that. He
really was down there mostly in hopes that he'd find
someone to underwrite him so he could be nearer to his
wife, who was living in Florence, Oregon at the time. But
the image of those dunes, in a picture he took as his
little charter plane rose into the sky above them,
becoming waving golden ripples on a fine ocean of
sand, would stay with him. Dune wouldn't be completed
for years yet. Perpetually broke, he would become a
political speech writer, try his hand and fail at writing for
TV, learn about zen, move to San Francisco, rejoin the
newspaper industry as a night editor for the San

iw: 
כפי שתמצאו על מדף מד"ב.
אבל הוא, על אותן חוליות,
חיפש סיפור חדש.
אם כי לא סיפור מד"ב.
למעשה הוא הלך לאותן חוליות
בשביל תכלית שונה מאוד.
מבינים, את רוב הקריירה שלו
הוא בילה כעיתונאי
והוא יצא לחוף אורגון
בתקווה שיגרום למגזין
לשלם לו על סיפור
על איך מאחזרים את החוליות.
למען האמת,
זה אפילו היה הרבה יותר פשוט.
הוא באמת ירד לשם, בעיקר מקווה
שימצא מישהו לחתום לו,
כדי שיוכל להיות קרוב לאשתו,
שחיה בפלורנס באורגן בזמנו.
אך התמונה של אותן חוליות,
בתמונה שצילם
בעוד המטוס הקטן ששכר
עלה לשמיים מעליהן,
הופכות לאדוות גל זהובות
באוקיינוס חול מעודן,
תישאר איתו.
לא ישלימו את חולית במשך שנים.
תמיד מרושש, הוא יהפוך
לכותב נאומים פוליטיים,
יתנסה ויכשל בלכתוב לטלוויזיה,
ילמד על תורת הזן,
יעבור לסן-פרנסיקו,
יצטרף מחדש לתעשיית העיתונות

iw: 
כעורך לילה
ל-"סן פרנסיסקו אקסמינר",
ילמד את האי-צ'ינג,
ועוד יצלול עמוק
לפילוסופיה של יונג
לפני שהספר ייצא.
אבל כל הזמן,
המשיך לנסות בעבודתו.
משהו בו ידע שהיצירה,
סיפור המדבר שלו, היה האחד,
המשהו שיגרום לו להצליח.
ושמונה שנים, לאחר שבילה
אותו יום בחוף אורגון,
רואה כיצד דשא חוף אירופאי
שינה את צורת החול,
הסתבר שצדק.
אך הדרך לחולית
שאנחנו מכירים,
היא אחת ארוכה.
חולית עצמה התחילה למעשה
בתור האיקו.
כן, הרומן בן ה-181,000 מילים
התחיל בתור שיר
בן פחות מ-18 מילים.
אם כי הייתה שיטה בטירוף.
הרברט חש שההאיקו
היה הצורה המושלמת לביטוי
תמונות מהטבע ולקביעת נימה.
לו יצליח שם, הוא ידע
מה עליו לספק לכל הרומן.
משם, הוא חקר אקולוגיה,
פסיכולוגיה,
תרבויות שבטיות
מאזורים צחיחים ברחבי תבל,

Portuguese: 
Francisco Examiner, estudaria o I Ching e mergulharia ainda
mais na filosofia Junguiana antes da publicação
do Livro. Mas, este tempo todo, ele fazia-se ao trabalho.
Algo nele sabia que essa peça, a sua "história do deserto"
era a tal, a única coisa que finalmente lhe iria trazer
sucesso. E oito anos depois de ele passar aquele dia na
Costa do Oregon, olhando para como a relva de praia europeia
estava transformando as dunas, ele acabou por estar certo.
Mas o caminho para Dune, como nós o conhecemos, foi longo.
Dune começou propriamente como um haiku. Sim. o
Livro de 181.000 palavras começou como um poema com menos de dezoito
palavras. Mas havia um método nesta loucura.
Herbert sentia que o haiku era a forma perfeita
para expressar imagens da natureza e definir um tom. Se ele
conseguisse acertar aqui, ele saberia o que tinha que escrever
no resto do livro. A partir daí, ele pesquisou
ecologia, psicologia, culturas tribais de regiões áridas

English: 
Francisco Examiner, study the I Ching, and dive yet
deeper into Jungian philosophy before the book came
out. But, the whole time, he plugged away at the work.
Something in him knew that this piece, his "desert story"
was the one, the thing that would finally let him break
through. And eight years after he spent that day on the
Oregon coast, looking at how European beach grass
was transforming the sands, he turned out to be right.
But the path to Dune, as we know it, was a long one.
Dune, itself actually began as a haiku. Yeah. The
181,000 word novel began as a poem less than eighteen
words long. There was a method in this madness,
though. Herbert felt that the haiku was the perfect form
for expressing images of nature and setting a tone. If he
could get it right there, he'd know what he had to deliver
on for the whole novel. From there, he researched
ecology, psychology, tribal cultures from arid regions

iw: 
ותפיסה על-חושית.
הוא ישאב השראה מהכל
ויחזור איתה לספר.
פעם בטיול למקסיקו,
הוא הלך בנחל אכזב,
שומע את צעדיו מהדהדים מהגדות,
ומיד החל לרשום הערות
על "חול תוף".
אבל עד כמה שהתלהב מהרומן,
אחרים פחות התלהבו.
מו"ל אחר מו"ל
דחו את הרומן באומרם,
"זה פשוט ארוך מדיי!"
או, "אנשים לא יכולים לסיים
את 100 העמודים הראשונים."
אחרים מצאו
את רעיון שלו לטרילוגיה מוזר.
כי מה שיש לנו עכשיו
בתור הספר הראשון בחולית,
למעשה במקור
היה שלושה ספרים נפרדים,
שבמזל ליכדו לאחד.
אך שלא כמו רומנים אפיזודיים
באותה תקופה
אין שום קפיצה
כרונולוגית גדולה
או מבחינת מרחק בין האפיזודות.
וכך המשיכו לדחות אותו.
אחד אחריי השני,
כל מו"ל גדול למד"ב ויתר.
אבל איש אחד ראה אותו,
והכיר בערכו.
ג'ון וו. קמפבל.
אולי קריאת הידד אחרונה
בקריירה מהוללת,

English: 
across the globe, and ESP. He would draw inspiration
from everything and bring it back to his book. Once, on a
trip to Mexico, he was walking through an arroyo, heard
his footsteps echoing off the banks, and immediately
began to pen notes about drum sand. But as
enthusiastic about his novel as he was, others were less
so. Publisher after publisher rejected the novel, telling
him, "It's just too long!" or that "People can't even get
through the first hundred pages." Others found his idea
of a trilogy strange, because what we now have as the
first Dune book was actually originally three separate
books that luckily got put into one. But unlike other
multi-part sci-fi novels of the time, there's no great jump
chronologically or distance-wise between the episodes.
And so the rejections rolled in. One after another, each
of the big sci-fi publishers passed. But one person saw
it and knew its value: John W. Campbell. Perhaps the
last great hurrah of an illustrious career, Campbell

Portuguese: 
à volta do mundo e ESP. Ele inspirar-se-ia
por tudo e iria pôr tudo no seu livro. Uma vez, numa
viagem ao México, ele estava passiando por um arroyo, ouviu
os seus passos ecoando nas margens começou imediatamente
a escrever notas sobre "areia de tambor".
Mas apesar de ser um entusiasta dos seus livros como ele era, os outros não eram grandes
fãs. Editora após editora rejeitou o livro, dizendo-lhe:
"É muito longo!" ou "as pessoas nem conseguem lêr
as primeiras cem páginas." Outros acharam sua ideia
de uma trilogia estranha, porque o que agora conhecemos como
primeiro livro da saga Dune eram originalmente três livros separados
que felizmente foram compilados em um só. Mas ao contrário de outros
livros de ficção científica da época, não há um grande salto
cronológico ou distancialmente entre os episódios.
E assim as rejeições chegaram. Uma após a outra, cada uma
das grandes editoras de ficção científica recusaram. Mas uma pessoa viu o livro
e soube o seu valor: John W. Campbell. Talvez o
último grande sucesso de uma ilustre carreira, Campbell

iw: 
קמפבל החליט
לפרסם אותו בהמשכים,
ולהוציא אותו לאור
במגזין "אנאלוג",
תחת השם "עולם חולית".
בעוד שהחלק הראשון יצא לאור
קמפבל והרברט דנו הלוך ושוב
במכתבים פילוסופיים ארוכים
לגבי דברים כמו טבע הזמן,
והקושי בלכתוב
דמויות עם כוחות על,
שפשוט היו טובות מדיי.
הרברט לקח הרבה
מהצעותיו של קמפבל,
כמו לא להרוג את עאליה,
ועבד על ללטש חלקים שהמליץ
כמו לשפר את הבהרת החורים
בראיית העתיד של פול,
אפילו כשחלקים מוקדמים
מסדרת הרומן הגיעו לדוכנים.
אך כשהרברט הכין
את החלקים השני והשלישי
למגזין "אנאלוג",
עוד דחיות הגיעו מדי יום.
נדמה שהספר לעולם לא ימצא חיים
כמשהו בכלל פרט לקטעים במגזין,
אבל ברקע,
משהו אט-אט החל לקרות.
אנשים שמו לב.
"אנאלוג" עדיין היה הכי גדול
במגזינים למד"ב,
ולקמפבל עדיין היו חברים רבים
בקהילת המדע-בדיוני.
אנשים קראו את הסיפור,
וכותבי מדע בדיוני אחרים
דיברו על הסיפור.

English: 
decided to serialize it and publish it in Analog magazine
under the name "Dune World". As the first part was
being published, Campbell and Herbert went back and
forth in long, philosophical letters about things like the
nature of time and the difficulty of writing characters
with superpowers that were just too good. Herbert took
many of Campbell's suggestions like not killing Alia and
worked to refine parts he'd recommended, like better
clarifying the holes in Paul's future sight, even as early
parts of the serialized novel hit the stamps. But as
Herbert prepared the second and third sections for
Analog magazine, more rejections were arriving every
day. It looked like the book was never going to find a life
as anything but a set of magazine pieces. But in the
background, something was slowly starting to happen.
People were taking notice. Analog was still the greatest
of the sci-fi magazines, and Campbell still had many
friends in the science fiction community. People were
reading the story, and other science fiction authors were

Portuguese: 
decidiu tornar o livro numa série e publicá-lo na revista Analog
com o nome "Dune World". Enquanto a primeira parte foi
publicada, Campbell e Herbert correspondiam um com o outro
com longas cartas filosóficas sobre coisas como a
natureza do tempo e a dificuldade de escrever personagens
com superpoderes que eram boas demais. Herbert levou
muitas das sugestões de Campbell, como não matar Alia e
refinou as partes que ele recomendara, como explicar
melhor os buracos na visão do futuro de Paul, ainda
partes do livro em série chegavam aos quiosques. Mas enquanto
Herbert preparava a segunda e terceira parte para a
revista Analog, mais rejeições chegavam, dia após
dia. Parecia que o livro nunca iria encontrar uma vida
para além de um conjunto de peças de revista. Mas no
fundo, algo estava lentamente a acontecer.
As pessoas estavam a reparar. a Analog ainda era a maior
das revistas de ficção científica, e Campbell ainda tinha muitos
amigos na comunidade de ficção científica.As pessoas estavam
a lêr a história, e outros autores de ficção científica estavam

Portuguese: 
a falar sobre a história. E de seguida, foi nomeado para um
prémio Hugo. Claro, ele perdeu para Here Gather the Stars, mas isso não
importava. A história tinha fãs. E um desses fãs
era vinha de um lugar improvável. O nome dele era Sterling
Lanier, o editor da Chilton Books. Herbert e o seu
agente não tinham enviado uma cópia para a Chilton ela era uma
editora de manuais de reparação automóvel. Mas Lanier tinha lido o
livro na Analog e gostou tanto que procurou
o agente de Herbert e fez uma oferta. Ele queria
imprimir todos os três livros como um só de capa dura chamado
Dune. Herbert aceitou em êxtase. Eles saíram todos
com anúncios de rádio e artigos de jornal. Até o próprio Herbert
falou com os seus antigos contactos de jornalista e livraria
para conseguir mais atenção. Autores de ficção científica de prestígio
já estavam começando a chamá-lo ", um dos maiores
romances de ficção científica de todos os tempos ".
E dentro de um ano, os recém-formados Nebula Awards
estavam a planear em nomeá-lo Melhor Obra. E Harlan Ellison

English: 
talking about the story. Then, it got nominated for a
Hugo. Sure, it lost to Here Gather the Stars, but it didn't
really matter. The story had fans. And one of those fans
was from an unlikely source. His name was Sterling
Lanier, the editor of Chilton Books. Herbert and his
agent hadn't sent a copy to Chilton because they were a
publisher of car repair manuals. But Lanier had read the
story in Analog and liked it so much, he hunted down
Herbert's agent and made them an offer. He wanted to
print all three books as one hard-bound novel named
Dune. Herbert ecstatically accepted. They went all out
with radio ads and newspaper clips. As Herbert himself
leaned on his old journalist and bookstore connections
to get it more notice. Prestigious science fiction authors
were already starting to call it, "one of the greatest
science fiction novels of all time."
And within a year, the newly formed Nebula Awards
were planning to name it Best Novel. And Harlan Ellison

iw: 
אז, הוא היה מועמד לפרס הוגו.
בטח, הוא הפסיד ל-"תחנת דרכים"
אבל זה לא באמת משנה.
לסיפור היו מעריצים.
ואחד מאותם מעריצים
בא ממקור בלתי צפוי.
קראו לו סטרלינג לאנייר,
העורך של ספרי צ'ילטון.
הרברט והסוכן שלו
לא שלחו עותק לצ'ילטון,
כי היא הוציאה לאור
מדריכים לתיקון מכוניות.
אבל לאנייר קרא את הסיפור
ב-"אנאלוג" וכ"כ אהב אותו,
עד שצד את הסוכן של הרברט
ונתן להם הצעה.
הוא רצה להדפיס
את כל שלושת הספרים
ברומן אחד בכריכה קשה
בשם "חולית".
הרברט הסכים בהתלהבות,
הם יצאו מגדרם בפרסומות לרדיו
וקטעים בעיתון,
כשהרברט בעצמו
נשען על קשריו הישנים כעיתונאי
ובחנויות הספרים
כדי לחשוף אותו יותר.
סופרי מדע בדיוני יוקרתיים
כבר התחילו לכנות אותו
אחד מספרי המדע בדיוני הגדולים
בכל הזמנים.
ובתוך שנה,
פרסי הנבולה שנוצרו לאחרונה
תכננו לקרוא לו
"הרומן הטוב ביותר",
והארלן אליסון כתב להרברט

Portuguese: 
estava escrevendo a Herbert para perguntar se ele poderia estar presente no
jantar de cerimónia de entrega de prémios. Mas a curto prazo, as
editoras estavam certas. O livro Custava muito para imprimir e
poucas pessoas compravam, porque fazia parte dum género niche
na altura. Sterling Lanier perdeu o seu emprego. Mas ele apoiou
Herbert e o livro até o fim. Ele
enviou uma carta a Frank dizendo que ele tinha escrito um importante
e poderoso livro e que ele estava feliz por ter sido uma
parte disso. Humilde até o fim, ele disse que a sua
contribuição para isso foi em grande parte vêr algo grande
e descobrir como contatar o agente de Herbert a partir de John
Campbell. E terminou a nota dizendo que esperava
conheçer Frank Herbert pessoalmente um dia. Não sei se
eles o chegaram a fazer. No ano seguinte, porém, as vendas de Dune começaram
ganhar vapor. E embora a Analog tenha rejeitado uma sequela,
a Galaxy aceitou. As faculdades mais modernas começaram a ensinar o
livro em aulas de literatura e o livro ganhou popularidade como uma
obra-prima desconhecida. Dune não só sobreviveu, mas

iw: 
לשאול אותו אם יוכל להגיע
לארוחת הערב לכבוד הפרס.
אבל לטווח הקצר, המו"לים צדקו.
זה עלה יותר מדיי להדפסה,
ומעט מדיי אנשים קנו אותו.
כי היה חלק מסוגת נישה בזמנו.
סטרלינג לאנייר
איבד את עבודתו.
אבל הוא תמך בהרברט
ובספרו עד הסוף.
הוא שלח לפרנק פתק
שאומר שעשה ספר חשוב ועוצמתי,
ושהוא שמח שזכה להיות חלק ממנו
גם אם הצטנע עד הסוף,
הוא אמר שתרומתו לו
בגדול הייתה לראות משהו גדול,
ולגלות איך להשיג
את הסוכן של הרברט מקמפבל.
והוא סיים את הפתק,
באומרו שהוא מקווה
לפגוש את פרנק הרברט
באופן אישי יום אחד.
אני לא יודע אם נפגשו אי פעם.
אם כי שנה אחריי,
המכירות של חולית החלו לעלות.
ולמרות ש-"אנאלוג" דחה המשך,
"גלקסי" בחר אותו.
מכללות עדכניות התחילו ללמד
את הספר בשיעורי ספרות,
וקיבל באז תקשורתי
כיצירת מופת מחתרתית.
חולית לא רק שרד,

English: 
was writing Herbert to ask him if he could make it to the
award ceremony dinner. But in the short term, the
publishers were right. It cost too much to print and too
few people bought it, because it was part of a niche
genre at the time. Sterling Lanier lost his job. But, he
was supportive of Herbert and the book to the end. He
sent Frank a note saying that he'd made an important
and powerful book and that he was glad he got to be a
part of it even if, humble to the last, he said that his
contribution to it was largely seeing something great
and finding out how to reach Herbert's agent from John
Campbell. And he ended the note by saying he hoped to
meet Frank Herbert in person one day. I don't know if
they ever did. The next year, though, Dune sales began
to pick up. And although Analog rejected a sequel,
Galaxy picked it up. Hip colleges started to teach the
book in literature classes and it got buzz as an
underground masterpiece. Dune not only survived, it

iw: 
בקרוב הוא הפך למרכז היקום
המדע-בדיוני.
אז המשיכו באימוניכם,
והמשיכו לבטוח ביואה לחלוטין,
כי אנחנו מתחילים בעלייה לרגל
לאראקיס בפעם הבאה.
מה יכול להשתבש?
אה. כן. זה.
תרגום, סנכרון, הגהה
Dr_Ellert
כל סדרת ספרי חולית
תורגמה לעברית
לדעתי התרגום העברי משובח
אולי מבין הטובים שיצאו
המתרגם עמנואל לוטם,
מאוחר יותר ליאור בן-דוב.

Portuguese: 
não tardou a se tornar o centro do universo de ficção científica.
Portanto, continue o seu treino e continue a confiar em Yueh
implicitamente, porque começamos nossa peregrinação a
Arrakis no próximo episódio. O que é que pode correr mal?
Oh sim. Isso.
♪ "Hypothetical" por Surasshu ♪

English: 
soon became the center of the science fiction universe.
So continue your training and keep trusting Yueh
implicitly, because we begin our pilgrimage to
Arrakis Proper next time. What could go wrong?
Oh, yeah. Uh, that.
♪ "Hypothetical" by Surasshu ♪
