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A Paradise Lost - KOPS - Universität Konstanz

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scant consideration of native Hawaiian writing and even less evidence of an Asian or<br />

other contribution to the island’s literature. And for a long time, no alternative view was<br />

available in print. It was Stephen Sumida’s 1991 book And the View from the Shore:<br />

Literary Traditions of Hawaii 17 that finally filled some gaps: Not only did he make a<br />

tradition of visitor writing and the subsequent resistance to and inversion of its<br />

conceptions of Hawai’i visible, he also exposed a vital and far-reaching tradition of Asian<br />

American literary activity in the islands. This research in turn fostered confidence, which<br />

can partly account for the fact that today Asian Americans create a large portion of<br />

Hawaii’s literature. In addition, several anthologies and dissertations produced in the later<br />

1980s and throughout the 1990s have been explicitly devoted to publicizing that there is<br />

such a thing as literature (or more properly, literatures) from Hawai’i, written by<br />

‘insiders.’ This has generated new discussions and contestations about representation and<br />

belonging; these will be delineated in chapter 5.2, which negotiates ethnicity.<br />

Generally, the islands of the Pacific Ocean have been imagined and pictured as<br />

paradise more often than any other region of the world. For at least three hundred years,<br />

authors and philosophers have inscribed an Edenic mirror world inspired by the accounts<br />

of discoverers, ethnographers, and natural historians. Bougainville’s Tahiti, which he<br />

called “Nouvelle Cythère” and described in enthusiastic terms, is a typical example of<br />

how the explorer’s “vision was conditioned by preconceived ideas to such an extent that<br />

the images he saw were already distorted.” 18 He could not but claim to have found the<br />

heterotopia of Rousseau’s idealized ‘noble savage.’ Generally, South Seas discourse has<br />

to be understood as a subcategory of Orientalism, 19 and its pervasiveness and continuity<br />

can be traced by considering contemporary travel posters of unspoiled beaches and pink<br />

sunsets, complete with smiling hula girls in scant attire. While young, ‘alternative’<br />

backpackers rather keep searching for The Beach in Thailand, India, or Fiji, the wealthier<br />

and more settled middle-aged as well as thousands of honeymooners book their paradise<br />

package to Hawai’i every year. For writers and tourists alike, Pacific islands have too<br />

17 Stephen H. Sumida, And the View from the Shore: Literary Traditions of Hawaii, Seattle 1991. A<br />

criticism of this comprehensive study will be provided in chapter 4.5.<br />

18 Nicole in Hereniko/Teaiwa 1993: 60. Bougainville named Tahiti after the Greek island where<br />

Aphrodite/Venus, goddess of love, emerged from the sea.<br />

19 This term has been coined by Edward Said to name the hegemonic objectifying representation of the<br />

‘other’ in the service of imperialism. The indigenous people are studied and contained; the country is<br />

represented as laboratory or theatrical stage. In an Oceanic context, especially the idea of an ‘imaginative<br />

geography’ is applicable (See Edward Said, Orientalism, London 1995: here 65-6).<br />

5

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