A Paradise Lost - KOPS - Universität Konstanz

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7. Outlook: Future Tasks golden rules of English? conspiracies of languages? memories unwanted works are left unknown if what’s to be spoken needs to be written sabotage the language ignore the golden rules guerrilla writer barbarize the rules Richard Hamasaki – “Guerrilla Writers” 611 During the work on this thesis, I encountered the same questions over and over: Is there such a thing as literature from Hawai’i at all? Who are the authors, what is it about? I hope to have provided some answers. As this study has tried to survey the situatedness, development, and direction of contemporary literature from Hawai’i, it closes with the hope that more detailed work on any of the aspects discussed will follow. The comparison with Caribbean, South Pacific, and Asian American literatures and cultures could lead to a closer comparative analysis of single writers or texts. Some modes of creative expression have been mentioned only in passing. For example, contemporary Local music and its relation to indigenous orality deserve particular attention. Island popular music styles such as ‘Jawaiian,’ the Local mix of reggae with Hawaiian tunes, provide fascinating material for analysis. The role of orality in drama and poetry could be investigated further. Contemporary Local drama merits closer scrutiny, as the 2002 Ph.D. dissertation The Development of Hawaii’s Kumu Kahua Theatre and its Core Repertory: The ‘Local’ Plays of Sakamoto, Lum and Kneubuhl by Justina Mattos (UH Manoa, Drama Department) indicates. While there have been several books on the host of films about Hawai’i, the few films as yet made by Locals in Hawai’i (such as Kayo Hatta’s 1994 black-and-white sugar plantation story Picture Bride, starring Toshiro Mifune) deserve critical attention. I have largely left out questions of gender and emancipation, 611 Richard Hamasaki, “Guerrilla Writers,” in Hamasaki 2000: 57. 244
though in a Local (Asian/native) context it would be a fascinating focus that could supply enough material to create another thesis. Another interesting area of study could be the analysis of recent, sensitive and informed outside representations of Hawai’i. An example would be Allegra Goodman’s novel Paradise Park. In this exuberant spiritual bildungsroman, the heroine perceives the Islands first from a touristic, if idiosyncratic, perspective: In the airport there was slack key guitar music and such strong sweet scent of flowers I thought at first that everyone was smoking weed. […] I couldn’t get over it. The greens were so green, the blue sky so blue. The leaves, the clouds, even the mock orange bushes. It was like everything on that island had just come out of the wash; it was like the trees were hanging out to dry. I just wanted to ride around all day. 612 Soon, however, she realizes the perversity of this voyeuristic position, seeing “that the place wasn’t real to haoles at all. It was another Disneyland, as far as they were concerned, and not an actual Land that belonged to a People” (48). For a while she believes to have found her kind of “Eden” on a marijuana plantation in the fecund jungle of Moloka’i (chapter 5), but reality draws her back into “Civilization” (chapter 6), where a visit to the Paradise Park bird zoo sets her musing: They lived in their giant aviaries in total harmony – since all their basic needs were taken care of. But if the structure is imposed from the outside, how can a place be a true utopia? A real paradise, that would have to come from inside the birds themselves; that would come from their own hearts. A real paradise, that would mean undergoing a paradigm shift in your very soul. And how can you even begin to have a breakthrough when your forest canopy is all you have, and you can never rise above it, due to the roof of your glorified cage? (75). The bird is Goodman’s leitmotif, flying and singing the goals of her heroine. Texts like Paradise Park attempt to benefit from the metaphors and ideas offered by Hawai’i without the thoughtless or deliberate stereotyping and exploitation practiced by earlier visiting writers. Perhaps we as readers and critics should take our cue from such an approach. In more general terms, I wish for increased attention to and study of writing 612 Goodman 2001: 8-9. 245
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A PARADISE LOST: MAPPING CONTEMPORA
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Das vierte Kapitel beschreibt die E
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Abstract This study is the first to
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5.1.4 Personal History: Poetry and
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No alien land in all the world has
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place for them on the map of ideas
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scant consideration of native Hawai
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time, we are all being distanced a
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mainland term, or ‘Hawaiian’ li
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the novel is to prevent his daughte
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uniqueness. Hawaii’s history of s
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end.” 44 Postcolonialism is often
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nation, in this case, the United St
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with the imperial power, and by emp
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strategy will be employed to analyz
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intermingling… It rejoices in mon
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grid of interdependence.” 78 Echo
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form and the resulting disjunction
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‘postmodern condition’ we all a
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each discourse stems from different
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as much an “India of the mind”
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If ‘the Caribbean’ is conveyed
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Hawai’i is a U.S. state, but its
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Another common aspect of discarding
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decolonization, independence, and n
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not only were all the eleven territ
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solidarity as a bulwark against the
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Subramani discloses how the modern
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At no time in my undergraduate Engl
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epresentativeness, a cautioning aga
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the issei. Few had gone against the
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Yogi names David Mura, Cynthia Kado
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accepted ethnicities. 191 The book
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Cobb (Keller), Gary Pak, and Cathy
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[…] I learned to make my mind lar
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chapter will illustrate. After the
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academic departments began offering
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American terms. Recalling a rhetori
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No need to hear your voice when I c
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In the mid-19 th century, the first
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His admiration of the physical abil
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to come home at dusk, waiting with
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chant and hula performances, kahuna
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Demographically, Japanese Hawaiians
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at schools. 255 Such pervasive draw
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half-jokingly he asked me, ‘Was t
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Michener’s claim that “these Or
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As may be expected, Sumida’s past
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various aspects that And the View f
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accumulation of several aspects in
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writers, exhibiting a neo-colonial
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without divinity to sustain them, h
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contract laborers, Stone of Kannon
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different groups anxiously saw to i
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into a complex and unfair world is
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advice as spells and protection rit
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hiding one’s true self, the ambig
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Gary Pak is another writer of Korea
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their lives and reminiscing on hers
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Fuckin’ Kahaluu used to be mean.
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future that is sharply contrasted b
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understands some of the inequities
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make a major mainland publishing sp
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joining their forebears. Jess will
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printed nothing but poems. Sentimen
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American Samoa to maintain his inte
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adulthood and history. […] In bot
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You find you need China: your one f
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“and disappears”). One of the f
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In general, these poems reach beyon
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In “Tutu on da Curb,” the old l
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similarly reduced to gestures, look
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see that it doesn’t matter what f
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I thought of weather like a sailor
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the rubric “Asian Pacific America
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The texts collected in ‘Oiwi deal
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in the two ‘Oiwi issues can be ex
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had no rival in its casting of ligh
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Through a series of improvisational
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In colonial situations, resistance
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a homogeneous society. Their report
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I had been here nearly thirty years
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While this may be true, this statem
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tradition that is our own. […] we
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“Juk,” criticizing its lost nos
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You come with me In your dark brood
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the Hawaiian situation and as an ob
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plantation hierarchy are especially
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argues: “As Asian American writer
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Grace, easy. Joseph, easier. Blue-c
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other sensitive readers have been r
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In 1999, Marie Hara and Nora Okja K
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Japanese, Korean, Portuguese, Filip
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mean, Asian, sistah? You Chinee, o
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Cantonese words. 465 In the 1820s,
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Standard system.” 472 In any case
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In spite of its widespread appeal i
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they invite the reader to sound out
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poetry than the original: “What c
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As mentioned in the history chapter
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Page 215 and 216: 5.4.1 Reclaiming Hawaiian Space We
Page 217 and 218: turn of the caterpillar track wrenc
Page 219 and 220: matters Hawaiian. “We are native
Page 221 and 222: A far cry from Kahoolawe, an experi
Page 223 and 224: As Gayle Sato argues in her Amerasi
Page 225 and 226: Remembering his former failure to u
Page 227 and 228: Grant published such ‘factional
Page 229 and 230: It is still here, just like Hawai
Page 231 and 232: Mrs. Zane can speak several dialect
Page 233 and 234: flowers glowing like stars in the g
Page 235 and 236: While Native Hawaiian nationalists
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Page 239 and 240: outlook: “This is all, of course,
Page 241 and 242: Old Man and the Sea in their home t
Page 243 and 244: The most violent act James Cook cou
Page 245 and 246: slashed hand as if it were “somet
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Page 249 and 250: In such passages, Davenport manages
Page 251: to our young Pacific writers: that
Page 255 and 256: Balaz, Joe. Electric Laulau. CD. Ho
Page 257 and 258: Dissertation: University of Michiga
Page 259 and 260: Identity in the New Pacific. Pacifi
Page 261 and 262: McGaw, Martha Mary, Sister. Stevens
Page 263 and 264: the Rest of the World. London: Rout
Page 265 and 266: Trask, Haunani-Kay. From a Native D
Page 267 and 268: Appendix I: Hawaiian History in Dat
Page 269 and 270: 1863: Kamehameha IV dies and is suc
Page 271 and 272: 1924: The U.S. Congress passes Hawa
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