The Niuhi Shark Saga
Ilima, everyone’s favorite dog who isn’t a dog, is back in a new adventure!
In Rell Goes Hawaiian, you’ll catch up with Ilima, Uncle Kahana, Jerry Santos, and other characters from The Niuhi Shark Saga in a newly imagined version of Cinderella.
When Rell Watanabe is summoned from the mainland by her stepmonster Regina to Poliahu’s estate in upcountry Lauele, Hawaii, she should’ve known it wasn’t to celebrate her birthday. Despite Jerry Santo’s aloha hospitality, being in paradise isn’t all fun in the sun. Rell spends her birthday signing papers, taking care of her bratty stepsisters, and preparing for a big auction to benefit the International Abilities Surf Camp sponsored by Jay Westin and Nili-boy.
After Rell’s wicked stepsisters push the sacred aumakua stone Pohaku into the big saltwater pool at Piko Point, things rapidly fall apart. Banned from attending the auction, Rell wishes on a star and gets waaaaay more than she bargained for when Ilima shows up to settle a score.
Things take a sinister turn when Rell discovers the real reason Regina is sponsoring the auction and her plans for Rell’s family land in Lauele. It’s going to take more than Ilima’s bibbitty-bobbity-boo to make things right—but don’t call ever call Ilima a fairy godmother.
Rell Goes Hawaiian is a magical realism story where the supernatural and the ordinary live side-by-side. Menehune and other Hawaiian legends of gods and goddess walk Lauele Town. Don’t blink or you’ll miss them.
Rell Goes Hawaiian is a novella included in Fractured Slipper, a boxed set of 5 Cinderella novellas by award-winning and best-selling authors. Fractured Slipper is Book 2 in the Fairy Talk Ink series.
Until January 18, 2018, you can pre-order the eBook of Fractured Slipper for only 99 cents!
Fairy Tale Ink Series
Includes Nani’s Kiss, a tale of Polynesians in space.
Includes: Rell Goes Hawaiian, a Lauele Town Novella
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 Truth, No Lie, book 3 in the trilogy. To see the whole review, click here.
Tales from Pasifika Review
Let me start by saying right off the bat that this third volume of the Niuhi Shark Saga is just as good as its two predecessors. It is the perfect conclusion to the whole story and one that will stay in your head for days, making you think about your own life, the choices you make, and the importance of having a loving ohana (family).
I have to admit that the events in this novel took me by surprise. The first few chapters literally hit you like a thunderbolt, and you quickly realize that you probably won’t be able to predict what happens next. And you indeed can’t. The twists and turns are infinite. When you think you know in which direction the story is heading, the plot makes a sudden 180-degree turnaround and you are being left baffled; yet again. There is only one way to find out how the story turns out – you have to keep reading until you reach the last sentence. Which is not a problem, because the narrative draws you in from the very beginning. You become curious and interested, you want to know more. And you simply enjoy spending time in the magical world Lehua Parker has created.
Another reason why the book is so engaging are the characters. Zader, as the protagonist in the trilogy, is the focus of the story. His transformation from a teenager to a responsible young man is perhaps a little too idealistic, but definitely nicely portrayed. You can notice how he has changed from an insecure boy to a brave grown-up; how he has learnt to make choices and decisions and rely only on himself. That’s a great lesson, for children and adults alike.
Other characters are also given moments to shine. Especially Jay, who shows us how to fight through adversity, find positive in life, and never ever give up; and Maka, who lets us understand what it means to finally have something you’ve always wanted to have – a real family. Of course, uncle Kahana, Char Siu, Kalei, Pua, ‘Ilima, and the rest of the group make appearances as well, however they are much less visible than in the two previous volumes.
With this book Lehua Parker once again showed us her enormous talent. Her writing style and the language she uses are beyond compare. Everything – from descriptions to dialogues to wit and sense of humour – is perfectly dosed. Personally, I would prefer to see a bit more Pidgin in each chapter, but that’s not really a reason to complain. I have to say that you read Lehua Parker’s novels with pure pleasure. Whenever you finish one of her books, you instantly want to reach for another.
In the review of the first volume of the Niuhi Shark Saga I confessed that I don’t like children or young adult literature. But this trilogy is an exception. It will make you laugh. It will make you cry. It will make you think. What can you want more?
Mahalo nui loa, Tales From Pasifika! You can find the entire Niuhi Shark Saga on Amazon: One Boy, No Water, book 1; One Shark, No Swim, book 2; One Truth, No Lie, book 3; and a companion story Birth: Zader’s Story. More books related to the series coming soon.
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 Shark, No Swim, book 2 in the trilogy. To see the whole review, click here.
Tales From Pasifika Review
Writing sequels is a very challenging task. You have to not only expand the story, but also – or rather more importantly – keep it interesting for the readers. And children, as well as young adults, can be a particularly demanding audience. But for Lehua Parker this seems to be no problem. The second book in the Niuhi Shark Saga is just as good as the first one.
Quite honestly, this volume doesn’t really feel like a sequel. It is simply a continuation of the tale; only this time you go deeper into the world the author has created. Now you are almost like a resident of Lauele Town, who dines at Hari’s and goes surfing at Piko Point every other day. You know the people, you know the place. And you are well aware that there is something going on with one of your neighbours, so you’re dying to finally uncover the truth.
‘One Shark, No Swim’ answers a lot of questions the reader might have had after finishing the previous volume. Zader’s past becomes clearer as new, and interesting, facts come to light. However, if you think that all the pieces in the puzzle will fall neatly into place before you reach the end, you are very much mistaken. Because with every single answer, more questions arise. Who? What? Why? When? Where? You may try to guess, you may try to predict what happens next, but you can’t bank on it. And that is the true beauty of this series.
Now, as the plot unfolds, you become more acquainted with the characters. In this book, Zader leads the way. He is a true protagonists, a central figure of the narrative. And although the story isn’t told in the first person, you see the world through Zader’s eyes. You start to understand what he feels being a ‘different’ kid. You sympathize for him and cheer all the louder when he’s one step closer to discovering his true nature.
Of course, when mentioning the characters, you can’t forget about Zader’s family, especially uncle Kahana. This no-nonsense, wise, and funny old guy, sometimes treated like a big baby by his relatives, is a real star. Himself a man of many secrets, he is a mentor, a teacher, a protector, and a guardian of ancient Hawaiian culture. His complex persona makes him a little unknowable and therefore very intriguing. I wouldn’t mind having an uncle like Kahana, and I think you wouldn’t either.
The engaging plot and great characters are wrapped in beautiful words. Lehua Parker’s writing style is so fine that you can’t help but marvel at what she has created. It is not easy to write a novel that would suit children and adults alike. And yet she managed. The informal language (with an added bonus in the form of Hawaiian and Pidgin), vivid but not overwhelming descriptions, and a perfect dose of humour make this book an ideal read for any age group. No one will get bored, no one will be disappointed. It’s a title for the whole family. But be careful! It is possible that you will fight for the copy, so better buy two; or maybe even three… Just in case.
If you have read the first volume in the Niuhi Shark Saga, you literally have no choice but to read this one too. If you haven’t, you should catch up as soon as possible. Because the books are fantastic. Period.
Mahalo nui nui, Tales From Pasifika! You can find the entire Niuhi Shark Saga on Amazon: One Boy, No Water, book 1; One Shark, No Swim, book 2; One Truth, No Lie, book 3; and a companion story Birth: Zader’s Story. More books related to the series coming soon.
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.
ONE BOY, NO WATER is FREE on Kindle through Dec. 25th.
It’s a 2017 Nene Award Nominee.
Set in Hawaii, it tells the story of 13 year old Zader and his brother Jay. Lua, kite flying, surfing, and shave ice. The easiest way to take a trip to Hawaii without leaving your couch. It’s book one in The Niuhi Shark Saga.
Download it from Amazon.
It’s Disney’s Moana. That’s really what it comes down to.
A couple of years ago, when Disney announced that in the tradition of Aladdin, Mulan, Pocahontas, and Frozen, they were bringing to the screen Moana, a Polynesian princess tale, I was excited. When I learned that the story involved the demi-god Maui and ocean voyaging, I thought here was a movie I could take my kids to where we could talk about ancestral knowledge and what it means to be a literal descendant of the historical Maui and his sons.
And then I saw the trailers. Maui didn’t look anything like what I imagined the real Maui looked like—frankly, he didn’t even look human. And he was kind of an egotistical jerk. And a buffoon. And what was up with the nonsensical bits of crap around his neck and the random leaves for a malo? None of the sets and costumes seemed to belong to any particular island culture. I saw elements of Maori, Samoan, Tongan, and Fijian cultures—and precious little that was clearly Hawaiian. It was like someone had taken Pasifika and mashed it into a blender and—
Moana is no more an authentic reflection of Polynesian culture than Mulan reflects China, Aladdin reflects Arabia, Pocahontas reflects Powhatans, or Frozen reflects Scandinavia. All of these stories are set in an alternate world—let’s call it Disneyland—that borrows heavily from real-world cultures to tell very classically western stories in the archetypical hero’s journey or mono-myth form. These stories follow specific patterns that start with a call to adventure, followed by an ordeal, a transformation, and an eventual return.
Harry Potter, Star Wars, The Lord of the Rings, The Lion King, and Disney Princess movies like Moana and Frozen all follow the same basic hero’s journey storyline. Like most mono-myth stories, they are set in a world that is similar to, but slightly askew from the real world. Sometimes this new world has magic or talking animals or objects that are cursed. Most of the time the audience simply goes along with the fantastical elements because they are part of this kind of story tradition. Do we really know how the Force works or if House Elves exist? No. And when the goal is entertainment, it doesn’t really matter.
That’s another key: entertainment. As much as we’d like to believe otherwise, children and adults go to these kinds of movies to be entertained, not educated. Disney knows this.
The unfortunate disconnect was that so many people with deep Oceania roots wanted something different, something that was an authentic reflection of indigenous island culture and storytelling. What we got instead was a western pop-culture mono-myth story set in Disneyland’s Polynesia. It’s like going to a luau and being served rice and teriyaki chicken instead of kalua pork and poi—really disappointing, I know.
I still took my kids to see Moana.
I thought the story was amazing, even through it’s not Polynesian in form or content. I liked that Moana’s gender wasn’t a limiting factor when it came to being a leader, solving problems, or persevering when it was easier to quit. I liked the ideas about the importance of self-sacrifice for a greater good, the love and influence of family that stretches beyond this mortal plane, and the conflict between following your heart and fulfilling what you think is your destiny.
Above all, I liked the way the ocean was animated. The colors, shadows, currents—all beautifully articulated. And while the voyaging canoes didn’t look very much like the great wa‘a I knew, my heart did leap to see them soar across the ocean. I loved the brief moments about wayfinding by stars, currents, water temperature, and marine life.
Moana did start conversations with my kids.
We talked about the elements in the architecture, traditions, clothing, etc., and which island’s cultures probably sparked the designs. We talked about the great trade routes, ocean currents, social and political factors, and migration patterns that settled Polynesia from Asia and the Americas and back again, and how new genetic evidence is proving that ancient people traveled farther and more frequently than we realized.
Well, than western scholars realized. In Pasifika we have our own stories, genealogies, and histories. More on this in another article.
But the most important things my kids and I discussed were the concept of stories. It’s very simple.
Our stories define us. Moana is not my story; it’s Disney’s. It doesn’t define my Hawaiian heritage any more than Frozen defined my Scandinavian ancestors. Nothing Disney does defines me or changes one iota of who I am.
Despite all the uproar over cultural appropriation, I think the average person knows Moana is set in Disneyland—not living, breathing Oceania. Cultural appropriation is not a western thing; it’s a human thing. I’ve experienced it all over the world. Every culture in contact with another borrows what appeals. Like Tamatoa the crab says in Moana, it’s glam, it’s shiny, so I’m going to stick it on my shell and make it a part of me.
The big take away is this: If we do not write our own stories, we cannot be surprised when outsiders attempt to write them. With no other voices in popular culture, these stories become the truth for the majority, and we soon find ourselves living in a world enamored with Bobby Brady’s tiki curse, hip-hop hula, and coconut bras.
If we want to change the popular cultural narrative about what it means to be Hawaiian, Samoan, Maori—we need to tell our own stories in our own voices. It means supporting our Pasifika artists, musicians, dancers, and writers with more than our applause and appreciation.
Otherwise only those with Disneyland resources will fill the void—and the narrative—with what appeals to the masses.
So humbled and honored that One Truth, No Lie, book three in the Niuhi Shark Saga, is a 2016 Whitney Award Nominee. Mahalo nui loa to all the readers who nominated it.
Author J.F.R. Titchenell, Confessions of the Very First Zombie Slayer (That I Know Of), asked what scares me. Here’s my response.
Picking up The Niuhi Shark Saga, you’d think I was afraid of sharks. It’s right there in the title of the series. In the books people get stalked by sharks, bit by sharks, and die because of sharks. As an island kid growing up in the ocean during the 1970s—the premier Jaws era—it would make a lot of sense.
But sharks don’t scare me.
Being alone and misunderstood does.
You don’t have to be Sigmund Freud to figure out the sub-text of The Niuhi Shark Saga. I grew up a part-Hawaiian, but perpetually sunburned haole-looking girl in Kahului, Maui. From kindergarten through fourth grade, I was the only person with blond hair and blue-eyes in the entire school district, including the staff.
This didn’t change until my family moved to Kalama Valley on Oahu, where in 5th grade at Kamiloiki Elementary there were more kids who looked like me. But nobody spoke Pidgin, which I thought was the language of school. You can imagine my surprise when my teacher, nose in the air, told my mother I needed remedial English lessons and she was recommending me for Resource, which was code for special ed and not in her classroom. I didn’t need English lessons. I just needed to speak as I spoke at home at school.
The shock on Mrs. Goo’s face when I switched mid-sentence from Pidgin to perfect English was almost worth the hell of being in her class.
Almost. I won’t say more, except that when you’re a kid, being good at sports is crucial to overcoming prejudice. That, and a great right hook.
Consequently, a lot of my fiction involves a character that is isolated from others, usually for a reason he or she has no control over. In The Niuhi Shark Saga, Zader is isolated because he’s allergic to water. He’s the weird kid that others put up with because of his popular surfing star brother, Jay.
In One Boy, No Water, Zader fears being left behind if Jay and Char Siu get accepted into Ridgemont Academy for ninth grade. Without Jay around, there’s the real possibility that Zader will be the Blalah’s perpetual punching bag. But as the story progresses, Zader discovers that Jay needs him too, and that being different can be a source of strength.
In One Shark, No Swim and One Truth, No Lie, Zader and Jay learn that anything they love can be taken away. Because of love, Zader sacrifices himself and travels the world alone, wary that he will turn into the monster everyone thinks he is. Jay becomes consumed with revenge, loses his golden boy status, and has to humble himself and learn from others before he can find peace in the ocean again. Both Zader and Jay reject what others think are their destinies, and prove that family are people you choose and not necessarily related by blood.
The Niuhi Shark Saga takes place in modern Hawaii where all the Hawaiian myths, legends, and gods are real, but under the radar of most humans. It’s my hope that readers come away with a deeper understanding of island life than what’s reflected in Hollywood movies and shows like Hawaii 5-0.
And there are sharks. Did I mention the sharks? Monster-sized Niuhi sharks, with mouthfuls of teeth, all-consuming hunger, and extra-sensory perception. They are apex predators without a lick of human remorse or conscience.
Oh, and Niuhi sharks? They can appear in human form. Unlike Jaws, if a Niuhi shark is interested in you, even on land, you’re not safe. There is no bigger boat.
Had a blast yesterday at BYU with the Kid Authors Camp kids. An amazingly smart, talented, and fearless group of writers. They asked all the tough questions about how contracts work, movie rights, and how they can publish their work when they’re ready, like in maybe another hour or so when they finish their last chapter. These kids are going places!
I don’t believe in writer’s block, even though I’ve been stalled out on book three in the Niuhi Shark Saga for several months now. It’s not that I can’t write—I’ve continued to write and even publish other works—it’s that I haven’t wanted to work on the series.
It’s not block, it’s apathy.
Part of the apathy comes from the publisher wanting to wrap it up as a trilogy instead of a five book series—oh, but Lehua, we’d like you to keep the third book’s ending open enough that if sales warrant it, there’s the option to write books four and five. In the meantime, we’d like to see something else. I could go on ad nauseam about the challenges of working with an understaffed, underfunded new publishing house, but if you’re a writer, you’ve heard it all before.
So five into three. Really three into one, since the first two are already published. No matter how you do the math, it doesn’t fit.
I thought about simply writing book three the way I originally envisioned it and then self-publishing four and five—heck, I’d give them away to anyone who asked.
But a series with three nice books sitting on a shelf and two only available on the nearest eReader didn’t feel right. I didn’t know what would. Some days I even convinced myself that I didn’t care, the same way people convince themselves that a large Diet Coke cancels out the buttered popcorn and peanut M&Ms they consume at a movie.
For the past year, every time I sit down to write I have to do it around the three-ton shark sitting on my keyboard. Go back to starring in Shark Week shows, I’d think. Aren’t there some white-bellied tourists from Wisconsin you can haunt? Unlike bigger budgeted publishing houses, in my experience, small presses don’t bug you much about deadlines, particularly when they’re busy trying to hook bigger fish.
It was therefore easy, sorta, to ignore Jaws Junior and the tsunami wave of story hovering over my head. Easy, that is, until book two started percolating through the kid-lit jungle net and kids started sending me email.
Aunty Lehua!!!!! I can’t believe you ended it that way!!!!!! What happens next?!!!!!!!
Middle grade readers love exclamation points.
They also send major guilt-trip vibes.
Working as a content editor with other authors made me realize my real problem wasn’t finding a way to tie up all the loose ends. It was reconciling what made sense in a third book based on the first two. In my head I had too much story. But if Zader chooses to do something else…
Suddenly, a completely new and different shape for a third book began to emerge. I bounced ideas off published authors who had read One Boy, No Water and One Shark, No Swim, but had no preconceived ideas of where the story was heading. I then went to my ace in the hole—a few middle grade readers–and asked what they’d like to see in the last book. While radically different from my original ideas, the new book three made sense.
With a clearer vision in mind, I finally feel ready to write the last book of Zader’s Niuhi shark saga. The series will end, questions will be answered, and Zader’s journey will be worth it—both for him and the reader.
Cue the theme from Jaws.