I’m five years old, laying on the carpet in our living room in Kahului, Maui. Evening trade winds tiptoe through the lanai door, bathing the house with the scent of Mom’s gardenia and naupaka bushes. On top the tv, an animated Santa Claus dances with a big red sack, singing about ashes and soot. My eyes dart to the flimsy cardboard cutout of a fireplace and chimney taped to the wall next to the Christmas tree. Panic bubbles. I can’t breathe.
He doesn’t even look up from the Honolulu Star Bulletin. “What?”
“How does Santa Claus come into the house?”
“Down da chimney, lolo. You deaf or wot? Jes’ listen to da song.” He turns a page.
I bite my lip. I have to know. “But Dad, Mom bought our chimney at Long’s. It doesn’t connect to the roof. Plus we no more snow! How da reindeer gonna land da sleigh on top da roof if no get snow?”
He flicks the edge of the newspaper down and peers at me. He shakes his head. “Moemoe time, Lehua. You need your rest.”
Tears well. No Santa. No presents. So unfair. Mainland kids get all the good stuffs. I try again. “Dad, fo’reals. Is Santa going skip us?”
Dad presses his lips tight and gives me small kine stink eye. He clears his throat and looks around the room. When he spocks the lanai door, his eyes light up. “You ever seen a house in Hawaii with no more sliding door?”
He nods. “Maika‘i. Every house get sliding doors. Das because in Hawai‘i, Santa comes through the lani door instead of down the chimney. In Hawai‘i we invite our guests into our homes like civilized people. We no make dem sneak in like one thief.”
I tip my head to the side, thinking. “But what about da reindeer?”
Dad clicks his tongue. “Da buggahs magic, yeah? They no need land. They just hover in the backyard and wait for Santa fo’ come back. Mebbe snack on da banana trees. Now go to bed!”
It’s not the first time I have to perform mental gymnastics to bridge what I see in movies, tv, and books with my oh, so different reality, but it’s one of the most memorable. At school the teachers try to prep us for mandatory standardized testing, tests we island kids consistently score lower on than our mainland peers.
“Class, what does it mean if the trees have no leaves?” Ms. Yamaguchi asks. “Lehua?”
“Uh, da trees stay make die dead?” I say. “Dey nevah get enough water?”
“No! It means it’s winter! The correct answer is winter! Coodesh! Pay attention. You kids trying fo’ fail?”
It would be many years later, when I am in college in Utah and walking through a virgin snowfall along a wooded path that I finally understand the imagery and symbolism in Conrad Aiken’s “Silent Snow, Secret Snow” in ways more profound than no leaves equals cold equals winter.
Which brings me, finally, to my point.
We need diversity in literature. Kids need access to stories that resonate with their experiences, that are full of people they know and love, that show themselves—their fully authentic selves—as powerful, valued, and real. We need Pacific voices raised in song, dance, print, film, tv—all forms of media, some not even invented yet.
I remember the profound impact of hearing Andy Bumatai, Frank Delima, and Rap Reiplinger on the radio. Hawaiian music, for sure, all the time, but spoken words, Pidgin words, so fast and funny, just like Steve Martin and Bill Cosby! To this day, my old fut classmates and I can still recite all the words to “Room Service” and “Fate Yanagi.”
And finally, I find them. Words on paper, in libraries, in books. Stories by Graham Salisbury, Lois-Ann Yamanaka, Darrell H. Y. Lum, Kiana Davenport, and Lee Tonouchi open my eyes to the possibility of using my history and experiences, my voice, to tell stories to an audience that didn’t need long explanations about why whistling in the dark is not a good thing, that a honi from Tutu was a given, or that wearing shoes in the house is the ultimate outsider insult.
I could write stories where the burden to bridge is on the mainland, not the islands. I could write stories for kids in Waimanalo, Kona, Hana, Lihue.
But there’s a catch. The reality is that there are many more readers outside of Hawai‘i nei than in it. Books for niche audiences are a tough sell for traditional publishers who are driven by the bottom line. And while self-publishing or small press publishing is viable for genres like romance, thrillers, and sci-fi, it’s next to impossible for middle grade and young adult books who need the vast marketing channels of a traditional publisher to reach schools and libraries.
I try not to let that matter.
On the mainland, I tell people my books are not for everyone. If you don’t know the difference between mauka and makai, you’re probably going to struggle a bit with the language. You’ll miss a lot of the in-jokes and clues as to what’s really going on with the characters and plot. You’ll have to work a lot harder.
But it will be worth it.