I’m five years old, laying on the carpet in our living room in Kahului, Maui. Evening trade winds tiptoe through the lani 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.
Note: Tales From Pasifika is a website dedicated to reviewing stories that explore Polynesian and Oceanic cultures and themes. If you’re looking for a good book that fits into the Pacific-Lit category, this is the place. Tales From Pasifika is reviewing the Niuhi Shark Saga. The following is an excerpt from their review of One Boy, No Water. To see the whole review, click here.
Tales From Pasifika Review
I’ll tell you something about myself: I don’t like children’s or Middle Grade/Young Adult books almost as much as I don’t like fantasy/magic realism genre. I decided to give the Niuhi Shark Saga a chance exclusively because it is Pacific Lit. I bought the three titles, but I was still quite (or rather very) sceptical. But then I read a few pages. And a few more. And suddenly I was officially hooked.
So yes, I admit, this is a fantastic book. Lehua Parker wrote a beautiful tale full of magic and authentic Hawaiian vibe. She managed to bring the local legends back to life, giving readers – young and adult alike – a chance to get to know the Aloha State and its fascinating culture. Actually, the references to Hawaiian lore are what makes this novel stand out! It doesn’t deal with werewolves, vampires, or wizards – so omnipresent in today’s popular literature – but draws from the ancient beliefs. So we have sharks, and ti leaves, and the mysterious Hawaiian martial art of Kapu Kuialua (which is considered sacred and taught underground since the mid-1800s). All this definitely makes the story feel fresh, unique, original. And isn’t that exactly what we expect from a good book?
Now, although the novel is somewhat focused on Hawaiian culture, it has several underlying themes that teach valuable lessons, as befits children’s and Young Adult literature. Together with Zader and Jay, readers learn how important it is to have family you can always count on, to do what is right, to overcome your fears, to respect the nature, and to never forget where you come from. You can’t run and hide from your problems; be bold and brave; whatever happens in your life – face it! This is such an inspiring message for young people, who often struggle to find their place. Zader’s and Jay’s experiences will surely give them courage, and uncle Kahana’s wise words the needed moral guidance.
Speaking of uncle Kahana, I have to praise the characters. They are unbelievably well created and defined. From Zader and Jay to Char Siu and the Blalahs to uncle Kahana (who is my favourite), every one of them is a distinct person with a distinct voice and personality. They are complex, plausible, and easy to identify with. They are like us: they make choices and decisions – sometimes good, sometimes bad; they have their dilemmas; they learn from their mistakes. They are ordinary people; ordinary in their extraordinariness.
Of course, it’s one thing to build strong characters, but it’s another to show the relationships between them. Lehua Parker succeeded in doing both. The interactions between Zader and his brother or uncle Kahana, the interactions between the teenagers, and finally the interactions between the adults are incredibly well thought over. They influence the story, making it much more convincing and compelling.
Do you know what else makes this novel so believable? The language – Hawaiian Pidgin, to be precise. You’ll find it in every single chapter and, quite possibly, on every single page. To people who don’t speak Pidgin (or Hawaiian), it may cause some problems, but there is a dictionary at the end of the book, so you can always use it. I think the addition of local creole was a genius idea. Well, you can’t really write a story set in Hawaii and have your characters say ‘Thank you’ instead of ‘Mahalo’, can you?
‘One Boy, No Water’ is a must read. If you have a youngster at home or are looking for a great gift, this should be your number one choice. Because this colorful island tale is engaging and appealing, thought-provoking and amusing, uplifting and wonderfully hopeful. It is like a breath of fresh Hawaiian air taken on a sunny day. Unforgettable and not to be missed. But, let me give you a piece of advice here, buy all three books at once – after the first volume you’ll be hooked; just like me.
Mahalo nui nui, Tales From Pasifika! You can find One Boy, No Water and the rest of the Niuhi Shark Saga One Shark, No Swim and One Truth, No Lie and its companion story Birth: Zader’s Story on Amazon. More books related to the series coming soon.
Kino and the King by Jen Angeli is a middle grade adventure quest set in Hawaii. Cutting to the chase, we need more stories like this one where island kids see themselves as the heroes and Hawaiian culture as something both amazing and ordinary, rather than sensationally exotic.
In the story, 12 year old Kino and her mother move to Hawaii to live with her maternal grandparents in Kalihi, Oahu. With her grandfather ill and her family facing eviction from their home, Kino discovers that she has an ancient destiny to save both Hawaii and her grandfather by going back in time to 1825. There she meets the young Kamehameha III just prior to his ascension to the throne. After meeting with a kahuna at a heiau, it becomes clear that in order to return to her own time, Kino must go on a quest for four objects gathered from various parts of Oahu—and of course the young prince is going to come along.
As the adventure quest plot unfolds, Jen deftly weaves in aspects of Hawaiian culture and history. Islanders will recognize kapu customs, protocol, and Hawaiian legends such as night marchers, Pele, Kamapua‘a, sacred waterfalls, ‘aumakua, choking ghosts, and magic gourds and calabashes.
1825 is a significant time in Hawaiian history, after the fall of the kapu system and during the first years of the Protestant missionaries’ influence. Hawaii is experiencing the growing pangs of contact with the wider world. In the story there’s a glimpse of the monumental civic and cultural challenges, but Jen is always conscious of her 4th – 8th grade audience and keeps the action moving. Topics are lightly touched upon in a way that can start discussions about these important topics. Kino and the King is respectful of Hawaiian history and culture. Teachers, parents, and librarians will find it provides a springboard for further reflection, study, and inquiry.
But as good as 1825 was, I gotta say I liked the modern conflicts best. Mean girls, romantic interests, class wars, private school snobbery, leasehold vs. fee simple landownership, high cost of living in paradise, afterschool enrichment classes in Hawaiian—it’s all here. Anyone growing up in Hawaii will instantly relate to Kino’s modern world—and those far from home will probably crave spam musubi reading about it.
Readers of The Niuhi Shark Saga books are certain to enjoy Kino and the King. Can’t wait for Jen Angeli’s next adventure.
Kino and the King by Jen Angeli is available in eBook and paperback from Amazon.
Opportunities to be part of something this special are rare in life. Back in December Jonathan Diaz approached me and several other authors about participating in his quest to help pediatric cancer patients. He had the deceptively simple idea of taking photos of kids living lives far away from the realities of hospital corridors–dreams of being a mermaid, a bull rider, a dancer, a baker, more than twenty in all–and pairing each image with a short story.
I wrote The Mermaid‘s Tale for Caimbre, four years old at the time of her photo shoot and with a smile that makes you want to take her home in your pocket. It was without a doubt the hardest thing I have ever written. How could I possibly come up with words to do justice to her photo, to her smile, to her dreams? I couldn’t, not really. I’m just a writer.
She and other kids are the TRUE HEROES, a collection of modern-day fairy tales about real kids who are fighting cancer. The book is available now in major bookstores and online through Amazon. All proceeds go to support the Anything Can Be Foundation in its mission to help pediatric cancer patients see themselves as the TRUE HEROES they are.
If you’re in the Provo, UT, area on Saturday, Sept. 12, at 3 pm, stop by the Provo City Library to meet some of the authors and kids. Pick up a book and support something truly special. Let’s show cancer how strong dreams can be. #TrueHeroes #ShowYourGold #hope
Continuing our cover reveals this week is Little Dead Riding Hood by the mother-daughter writing duo Amie and Bethanie Borst, the second in their Scarily Ever Laughter series for middle grade readers. From the back of the book:
You know things are going to suck when you’re the new kid. But when you’re the new kid and a vampire… well, it bites!
Unlike most kids, Scarlet Small’s problems go far beyond just trying to fit in. She would settle for a normal life, but being twelve years old for an entire century is a real pain in the neck. Plus, her appetite for security guards, house pets and bloody toms (tomato juice) is out of control. So in order to keep their vampire-secret, her parents, Mort and Drac, resort to moving for the hundredth time, despite Scarlet being dead-set against it. Things couldn’t be worse at her new school, either. Not only does she have a strange skeleton-girl as a classmate, but a smelly werewolf is intent on revealing her secret. When she meets Granny—who fills her with cookies, goodies, and treats, and seems to understand her more than anyone—she’s sure things will be different. But with a fork-stabbing incident, a cherry pie massacre, and a town full of crazy people, Scarlet’s O-positive she’ll never live to see another undead day.
Not even her Vampire Rule Book can save her from the mess she’s in. Why can’t she ever just follow the rules?
From the Mixed-Up Files of Middle-Grade Authors: www.fromthemixedupfiles.com
Corey Egbert, the illustrator of the Niuhi Shark Saga, has collaborated with children’s picture book author Annalisa Hall on a new book, The Holy Ghost is Like a Blanket.
It’s a charming series of analogies for young LDS children that explains the role of the Holy Ghost in their lives. A blanket, a pair of glasses, a seashell, a star—these and other everyday items are used to help children concretely connect with a very non-corporeal concept. The illustrations are warm and inviting and the language is simple and clear, perfect for parents to read at bedtime or whenever they’d like to invite the gentle spirit into their home. Firmly grounded in LDS scripture and hymns, The Holy Ghost is Like a Blanket is sure to be a favorite.
10-year-old Melody wants to fly, to soar like an eagle far above the troubles in her earth-bound life. She knows if she can just swing high enough her wings will unfurl and she’ll finally be happy. Until then there’s always her patented zombie face guaranteed to frighten away the most tenacious bully or possible friend, keeping Melody safe in her self-imposed cocoon of isolation. When Melody leaps off a swing and into the mystical realm of Chimeroan where dreams come true, she begins a journey to not only earn her wings, but to face her past, conquer her fears, and to discover that the things that hold us back—even the things we want most desperately or fear with all our heart—are not always what they seem.
Up in the Air by Ann Marie Meyers is one of those rare books for children that accurately portrays the reality of being a child without making adults look like stumbling idiots or children seem uber-smart, successful, lucky, or treacle-y sweet versions of grown-ups. On the surface Melody’s story is an adventure quest complete with magical beasts, puzzles, and inscrutable Guides. It’s easy to get caught up in the world of unicorns, elves, dragons, and leprechauns as most middle grade readers will. But Melody’s story is much deeper, a parable for all ages that explores the complicated reasons for self-abusive behavior and a hit-first-before-they-hurt-you view of the world. As Melody progresses in her quest, she has to face and understand how her perceptions of herself and past events are limiting herself and preventing those she loves from true happiness.
Like flying, it’s a view that will leave you breathless.
Up in the Air by Ann Marie Meyers is published by Jolly Fish Press and available in hardback, trade paperback, and eBook from Amazon, Barnes & Noble and other fine bookstores. While appropriate for middle grade readers, adults and teens will enjoy it, too.
Matthew Kaopio, the author of Hawaiian Family Album, is an extraordinarily talented mouth-brush painter. His illustrations intrigued me enough to pick up his book, but as good as they are, they aren’t the heart and soul of his book.
His book is classic talk story—kids bugging a busy grandma to tell them family stories from her youth. In the eleven stories presented here, Grandma passes down Hawaiian culture and traditions and teaches the kids how to find their way through many of life’s difficulties.
One of my favorites, Kāne-o-kekai: Man of the Sea, tells the story of a woman’s fall into the sea and her rescue by a great white shark. It reinforces other opinions I heard as a child that sharks were to be respected, but not necessarily feared, and that ancestors are always ready to help.
The stories are funny, scary, and heartwarming, the perfect length for just before bedtime reading for kids. If you’re looking for some authentic Hawaiian culture, this book’s a winner.