My favorite books for understanding contemporary multicultural Hawai‘i

Hawai‘i’s multiethnic society began in the nineteenth century when Europeans and Americans settled in the Kingdom of Hawai‘i. Hawaii's Story is narrated by Queen Lili‘uokalani, the last Hawaiian monarch. The monarchy adopted Christianity and a constitutional government, accepted white settlers into their families through intermarriage, and allowed settlers to buy land and participate in the government. Their openness was met by betrayal when white settlers overthrew the monarchy in 1893. The Queen abdicated her throne to avoid bloodshed, with the hope that the US would reverse the illegal overthrow and restore her nation’s sovereignty, but her efforts at restoration were unsuccessful. Hawai‘i would be a very different place today if the Queen and her people had opposed their nation’s overthrow and annexation with violence.

Pau Hana is a concise overview of the immigration of workers from around the Pacific and the world, which created Hawai‘i's multiethnic community in the nineteenth and early twentieth century. The immigrants were recruited by the Hawaiian Monarchy and white sugar planters as laborers for their highly profitable plantations. Workers arrived from China, Portugal, Japan, Puerto Rico, Korea, the Philippines, and even Norway, and settled in the islands. Takaki details the work they did, the camp housing, the abuses and retaliation, the opium and alcohol, the gambling and prostitution, and the worker strikes that eventually resulted in better wages and working conditions.

John Dominis Holt grew up in a wealthy chiefly family, with Hawaiian, Tahitian, and white ancestors. His memoirs give a detailed, colorful account of the wealthy Honolulu neighborhood around Fort and Beretania Streets, where he grew up in the 1920s and 30s and where “Hawaiian-ness was strongly mixed with British, American, and Asian influences.” Unforgettable are Holt’s accounts of learning about the worship of sharks from an old Hawaiian fisherman and living in the lively working-class district of Kalihi, where his religious mother moved the family to escape the decadence of Fort and Beretania Streets. Holt describes the experience as “a protracted hula ‘auwana” (modern hula), where a multiracial group of several thousand people “lived in comparative harmony,” speaking Hawaiian, Asian languages, and pidgin English, the lingua franca of plantation communities.

Bamboo Ridge Press was established in 1978 to publish the multiethnic literature of Hawai’i. In this selection the best of its first eight years, the writers, of various ancestries, celebrate their families, cultures, and traditions, but also the cultures and traditions of others—a Hawaiian poet writes about a Tang fisherman; a poet of Chinese-Japanese ancestry and a writer of Puerto Rican ancestry reflect on Hawaiian activism; a white poet features bodhisattvas and Kuan Yin while another dedicates her song to a Hawaiian musician. Native Hawaiian writers are underrepresented in this collection published during a renaissance of Hawaiian culture, but a year earlier, in 1985, Bamboo Ridge also published Mālama: Hawaiian Land and Sea, an anthology of Native Hawaiian writers.

Westlake, a poet of Native Hawaiian ancestry, incorporates influences from Chinese Taoist and Japanese haiku poetry, Dada concrete poetry, the writings of Kerouac and Bukowski, as well as local pidgin and Hawaiian literary traditions. Westlake’s editor and friend Richard Hamasaki writes that the early poems are “calm, contemplative, and serene, often playful, celebratory”—humans interacting with nature, from rain, moonlight, and mountains, to bugs, frogs, and dandelions: “Looks of disbelief: / I’m on my knees / Washing a rock.” The later poems are political: “Westlake blasts away at Waikiki’s rampant tourism and American materialism, which replaced the native culture in his native land. He wonders, “how we spose / feel Hawaiian anymoa / barefeet buying smokes / in da seven eleven stoa ...?”