Aloha, Gang! I’m heading home to Oahu for an extended stay, April through May 2021. While I’m planning on research, writing, and relaxing, I’d love to talk story with students, writing groups, bookstores, libraries, or community organizations.
Contact me at AuntyLehua@LehuaParker.com and we’ll find a time we can meet. A hui hou!
PEAU Women’s Writing Crew
December 9, 2020
Prompt: pig, string or rope, bicycle
about 500 words
‘Alika and Arnold
by Lehua Parker
Tuna burst through ‘Alika’s bedroom door.
‘Alika’s punch landed solidly in her gut. “How many times I wen tell you no come—”
Tuna bent over, one arm on her stomach, the other braced against the door jam. “Banana leaves,” she wheezed. “Big bunches of ti leaves. Chicken wire.”
‘Alika stood there, mouth open and catching flies. “What? What you said?”
“Try look!” Tuna said, pointing toward the window.
Through the jalousies ‘Alika could see Uncle Butchie and Uncle Kawika rummaging in the back corner of Tutu’s lot.
“This pig more small than last year’s,” Uncle Butchie said. “At least we no need dig the imu deeper.”
“Yeah,” said Uncle Kawika. “Not too much rubbish to clear, either.”
Uncle Butchie jammed his shovel in the loose dirt. “You saw the banana stalks and ti leaves Myrna wen bring?”
“Yeah, get plenny. Eh, when you like do ‘em?” Uncle Butchie asked, tilting his head toward the pig pen.
“Bumbai,” Uncle Kawika said. “When ‘Alika-dem stay school. I no like him getting all ulukū.”
“Arnold,” ‘Alika breathed. He shoved Tuna aside and raced out of the room.
“Wait!” Tuna puffed. “Arnold’s not in the pen!”
Halfway down the hall, ‘Alika screeched to a halt. “Where?”
“I left him by the Nakamura’s side fence tied to the big coconut tree.”
‘Alika nodded and turned toward the front door. He gave Tuna one last look as she tried to stand up straight. “Eh, sorry, yeah?” he said as he slipped outside. “But I did tell you fo’ knock first.”
When ‘Alika rounded the corner by the Nakamura’s fence, all he saw was Tuna’s bike leaning against a coconut tree. “Arnold?” he whispered.
Creeping closer, he spotted some jute twine wrapped around the coconut trunk and disappearing into the hibiscus hedge. “Fo’real, Tunazilla?” he muttered. “This string wouldn’t hold a mongoose. Arnold better still be here or I’ll whop yo’ jaw fo’real.”
He ran his fingers along the string and crawled under the hedge to discover a big pig dozing in the shade.
Startled, the pig grunted and jumped. Seeing ‘Alika, his curly tail whirled like a hula hoop, and he made happy pig snuffle noises as he ran to him.
“Shhhhhhh,” said ‘Alika as he scratched behind Arnold’s ears. “It’s good to see you, too, buddy. But we’ve got to get out of here.” With one quick tug, ‘Alika snapped the string from the coconut tree and wrapped it around his hand.
What to do? Where to go?
‘Alika’s eyes landed on Tuna’s bike.
But it’s a girls’ bike, he thought. No way.
From the house Tutu’s voice called, “‘Alika! Your breakfast is getting cold. You better hurry or you going miss the bus!”
“Screw it,” ‘Alika said. “Sometimes you just gotta hele. C’mon, Arnold.”
‘Alika threw his leg over the bike seat and pedaled away, Arnold following like they’d done this a million times.
The Pasifika Enriching Arts of Utah (PEAU) Women’s Writing Crew meets online Thursdays at 8 pm MST. (I’ll post links and more info soon!) All women writers are welcome, particularly those writing from a Pacific Islander perspective. Each week there are suggested writing prompts, group critique, and a craft discussion. After each workshop, I’ll post my example on my website. Most of the time, they’ll be little snapshots about characters from the Lauele Universe, including the Niuhi Shark Saga trilogy, Lauele Chicken Skin Stories, Lauele Fractured Folktales, and more.
Ever enter a time warp? Sometimes it’s a good thing, like when you’re on a long plane ride and you fall asleep and 10 minutes later you’re landing halfway around the world. Score!
Other times you turn around and it’s been SIX MONTHS since you wrote a blog post. Or wrote anything longer than an article, essay, or short story. Six months that felt like a decade, the worst kind of time warp where you stand in line or get on a plane and months later discover you’re still right where you started.
I know I was busy, so busy I didn’t have time to do anything except put out the fire right in front of me and beat out the new flames arising from all sides.
2020 sucked, folks. For everybody.
But although I don’t have a new novel or play to feel good about, I did do some writerly stuff. I did some developmental editing on a few titles ranging from middle grade speculative fiction to adult non-fiction; wrote and sold a few short stories and essays; taught a few classes; mentored a few burgeoning writers and editors who didn’t listen when I said writing is hard, go to med school instead; did the layouts for a few books; did some copyediting; and spoke at a few virtual conferences. I accepted a position as the Personal Voices Editor at Dialogue magazine and found lots of nicer ways to say, “Yes, you do have multiple PhDs from Ivy League schools–well done! Regardless, your manuscript is not a personal essay. It is a diatribe. Thanks for submitting. P.S.–It’s ZZzzzzzz.” I also got to tell some new writers that I loved their personal essays and, “Yes!” In November I started working with Pacific Island Knowledge 2 Action Resources (PIK2AR) in Utah as their Literary Coordinator and rebooted a women’s writing group and an adult book club, plus planned a kids’ literacy initiative and book club for 2021 with Pacific Heritage Academy.
Lots of work, but not a lot of new, creative words.
Like many, I had lots of personal drama and trauma in 2020. Adult kids moved back home to continue university classes online, and my husband stopped traveling for business and began working worldwide via Zoom from his home office. Everything we were looking forward to was canceled. We all stayed home, the longest I haven’t traveled since childhood. Kupuna died suddenly from heart attacks or had cancer or strokes, leading to new assisted living situations which ended up feeling like Covid jail when we could only visit through glass. It’s hard to hug through a window pane. But as hard as social isolation is, losing people is much, much harder. From mid-summer on, every week, then every few days, someone I knew from writer-world, ‘ohana, or my neighborhood died. I stopped counting at 18.
No wonder that for most of the year, I wasn’t able to write or edit my own words. I just couldn’t.
But life has to go on. I’ve realized that I need to write my words and tell my stories for my own sanity. When you can’t control anything in the real world, you can control your story.
Well, until your characters mount a rebellion and hijack the narrative. But that’s the fun part.
Coming up in 2021–more published short fiction in anthologies, a newly designed website (fingers crossed), AUDIO BOOKS for the Niuhi Shark Saga, the long-anticipated Hawaiians-in-space novella, a new horror series for kids, and new weekly Lauele Shorts on the blog–quick snapshot stories about favorite characters in the Lauele Universe. (Because when you’re leading a weekly writing group you have to–ahem–write.) As part of the literacy initiative, I’m going to write some new reader’s theater plays with Pacific Islander characters and themes for kids. There’re also three novel-length books I hope to draft in 2021, two set in Lauele and one not set in Hawaii at all.
Next to my computer are stacks of sugar-free gum and a new pink micro-fridge stocked with six Diet Cokes. (Thanks, Santa!) Writing is happening.
Thanks for hanging in there with me. Here’s to a brighter 2021: I wish all a happy, healthy, and prosperous New Year!
In mid-June, I gave a three day workshop at University of Hawaii, Manoa, via Zoom about how to take traditional stories—Western fairy tales, Hawaiian mo’oleleo, Asian folktales, whatever—and turn them into something new.
We spent some time talking about simple vs. complex story structures, inner and outer character arcs, and how so many traditional stories are missing key story beats that western audiences expect because traditional stories were created for entirely different purposes.
One of my examples was Snow White, for the selfish reason that I was getting ready to write another novella for Tork Media as part of their Fractured Fairy Tales serials. It was due in completed form by mid-July. By mid-May, I’d done the research and had already pitched a couple ideas to my editor. I had a rough outline for my novella—as much of an outline as a pantster ever does—but I thought hearing a story pitch might be helpful for participants and lead into discussions about how publishers’, editors’, and agents’ ideas can shape a book, and how important it was to meet the audience’s expectations.
I also wanted participants to be fearless in giving and getting critique, so I set myself up as the first victim, pitching two different Snow White stories.
I knew the first example I gave wasn’t an appropriate Snow White story for Tork Media’s target audience. It featured drugs, mental illness, dysfunctional family dynamics, and a main character that wasn’t Disney warm and fuzzy. Once the gang realized I was serious about critique, they had no trouble telling me that.
Whew, I thought. They got it.
The second story I pitched was much closer to Snow White. It involved a young hula dancer named Hua (Snow White), a jealous older dancer, Nini (Wicked Witch), a phony hula ratings app (Mirror), Menehune that helped the young dancer (Dwarfs), a toady male dancer named Renten (the Huntsman), and diabolical sabotages at a high school hula competition where Hua could be crowned with a majorly made-up hula title as the greatest and youngest ever—and the reason Nini was jealous.
This one wasn’t as deep as the drug story, but it better fit the target audience. I was about to turn the pitching session to their stories when somebody said, “I don’t like Hua. I think this should be Lilinoe’s story. We don’t hear much about her in the Niuhi Shark Saga. She disappears, and that’s too bad.”
What they didn’t know was book three of the Niuhi Shark Saga was supposed to be One Dance, No Drum. It was supposed to be Lilinoe’s story, and in many ways, it was supposed to parallel Zader’s. It was a hula story, too, fame vs. love of the dance, and it was how Lili reconnected with her biological mother’s family—they’d come to see her while she was preparing and competing for Miss Aloha Hula at Merrie Monarch. The seeds for this story are all through the Niuhi Shark Saga, particularly early editions before the books got cut from five to three.
Okay. If this is now Lilinoe as Snow White, that makes this Snow White story much higher stakes and a lot more interesting for me to write. But it can’t be Merrie Monarch; Lili’s too young.
Loooong story short, I fell into a deep hole full of research about hula lore and protocols. I started thinking about where this story fit into the Lauele timeline and realized dance, poetry, and music would be the way Lili would deal with her grief and anger over Zader’s death and Jay’s loss of his leg.
Lili’d be torn between wanting to be the dutiful daughter and listening to her newly discovered mother (who’d keep butting in because to her it’s all about winning), listening to Liz (her adopted mother/bio-aunt) and others with more traditional hula views, and Lili’s own heart’s desire to dance as catharsis. Liz would also have a few choice things to say (and do!) about Nancy suddenly wanting to be the mother.
And what would Lilinoe dance? Not something typical. Of course! She and her kumu hula would create new hula—‘auana and kahiko—plus mele and oli centered in Lauele that expressed herself.
Wait. NEW hula, mele, and oli?!!! All about Lauele, Zader, Jay, and ‘ohana? That worked on at least two kaona levels? I think I’m giving myself a heart attack.
We are now so far from Snow White, there’s no going back.
There’s also no time. If I have to write poetry and beg someone to translate at least part of it into proper Hawaiian, there’s no way I’m hitting a mid-July completion for publication date.
This isn’t novella length, either. It feels novel-ish.
But sometimes the muse rides hell for leather. Like an ocean wave, you have to go with the flow. This story is not going to be Snow White. It’s not going to be One Dance, No Drum, either. Guess I need to sit my pants in my chair and let the words flow.
I’m going to be as surprised as anyone to see Lilinoe’s story unfold.
But, really, telling your own story beats reworking a traditional story any day.
I’ve often said that humans are hardwired to learn through story. It’s no surprise then that certain patterns resonate across cultures and geographic boundaries. In the West, we’re thrilled by stories that follow what Joseph Campbell and others describe as the Hero’s Journey or the Monomyth. Star Wars, Harry Potter, Lilo & Stitch, The Lion King, The Hobbit, The Hunger Games–are all based on familiar patterns found in the Hero’s Journey. But there are other stories–Hawaiian mo’olelo, Asian folktales, Pasifika myths and legends, fairy tales, and African folktales for example–that are structurally very different. Those differences can really confuse western readers by upsetting their expectations. In this workshop series, we’re going to break down stories and learn to map them forwards and backwards, molding them into original compositions that breathe new life into well-worn tales. We’re going to talk about the reader’s expectations and including the necessary story beats that meet them. Here’s to taking old stories and making them sparkle for modern readers.
And by all that is holy, pray that we can have lively discussions via Zoom!