63 books like A Nation Rising

In the ’70s through the early ’90s, Hawaiʻi went through massive social change.

There was a growing consciousness of the manipulation and exploitation that had accompanied Hawaiʻi’s colonization. With that came a collective desire to right the wrongs of history.

Trask describes the institutional racism, discrimination, and closed doors she faced as she attempted to forge a path for Native Hawaiian studies at the University of Hawaiʻi while participating in a growing movement against continued occupation. 

While working on my book, some suggested I soften the political thread woven within the story. It was Trask’s essay “Lovely Hula Hands” (a chapter of From a Native Daughter) that encouraged me to stay true to the portrayal of Hawaiʻi that countered the unflawed, pristine playground image sold to tourists.

Written at a time when Hawai’i’s history was still being glossed over, Trask’s interviews and essays provide an unapologetic perspective and… show more.

When I was growing up, all I learned about my home was the year Hawaiʻi became a state.

My mother forbid me from speaking local pidgin at home because of the prevailing stereotype that locals were uneducated, unrefined, and not able to understand the complexities of the wider world.

Television and film portrayed people from Hawaiʻi as pagans needing saving from themselves, who drank and sinned themselves to death unless saved by white foreigners. In more ways than one, the loss of the Hawaiian Kingdom was placed on the shoulders of leaders too weak and simple-minded to maintain and protect it.

Hawai’i’s Story challenges that. Written by Queen Liliʻiuokalani after she was imprisoned and overthrown by a group backed by U.S. Marines and intended to aid in the fight against annexation, this memoir reveals a Hawaiian Kingdom that is the most literate nation in the world at the time and… show more.

This collection of short stories offers a contemporary Hawaiʻi full of flawed characters who face challenges both unique to the islands and universal in motivation.

Kahakauwila explores the concept of paradise and the price paid for it. They are stories that capture the spirit and tenacity of Hawaiʻi, the nuanced layers of its social fabric, and brings me home every time I read them. 

The first time I read it, I was alone in a cabin in the woods in the middle of my first writing residency. Suddenly I was no longer pressed up against a wood stove trying to stay warm. Through her gifted storytelling, all the sights and sounds and smells of home came rushing in, both comforting and familiar.

You don’t need to know Hawaiʻi to enjoy this book, but by the end of reading it, you will feel like you do.

Jessica Machado’s father is Hawaiian and her mother is from the American South, a factor that looms large in a place like Hawaiʻi.

As a child, Machado senses that her life is complicated by history and context, but doesn’t have the words to formulate the questions brewing within.

In this touching coming-of-age memoir, Machado grapples with some of the same haunting questions and uncertainties that inspired my writing of my book while taking us on a journey to discover if her unshakeable connection to Hawaiʻi is a blessing, a burden, or a responsibility she’s lucky to have.

A must-read for anyone who has ever left home wondering how to take it with them.

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.

I adore the passages about what happens to the mind and body when you enter the ocean. I connected to the ideas about thinking through water and oceanic literacies. All the experiences shared about being in nature felt completely relatable.

Kanaka Maoli writer Karin Amimoto Ingersoll describes dropping into a wave on her surfboard as a kinaesthetic/sensorial experience (not that I can surf, but I felt so present with the writer at that moment!). She expands on this tantalizing metaphor in the most wondrous ways.

I read this during a particularly difficult phase of writer’s block, and it gave me the vital inspiration I needed to reflect on issues of identity, knowledge, and culturally safe expansive spaces in forms not imprisoned by “academic speak.” Needless to say, my words flowed like water.

One of my working titles for my book was A Country All Its Own, a phrase pulled from this exquisite novel set in Hilo, Hawaii. Ball plays with the theme of disappearance throughout, and it’s basically the female version of Australia Stories. Kinau, the narrator, is also shaped by her mother’s stories and haunted by the disappearance of her father, and the death of her ex-husband's stepson, who comes to the island in search of his own destiny. Original and breathtaking in its craft and message, Ball is an accomplished storyteller.

Laura’s fiancé and father die, and she travels from San Francisco to Hawaii to live with missionary relatives. It’s 1886, and Honolulu is the sophisticated bustling capital of a prosperous modern kingdom. Laura’s missionary relatives actively work to bring down the monarchy while Laura goes to work for the royal family. She builds quite a bond with the last queen, Lili`uokalani, who is trying to save her kingdom. This book tells the compelling story of the Hawaiian kingdom’s last days from a point of view inside the royal family. 

This book explores the customs and development of the Polynesian Islands prior to interference from European powers.

I see the rawest forms of our instincts and psychology in the indigenous peoples of the world. This book is a call for all readers to suspend the tendency to judge other cultures and time periods and just be observers. 

This book is based on first-hand interviews and newspaper accounts of ordinary people thrown into the chaos of the extraordinary surprise attack at Pearl Harbor. Clarke begins the narrative on December 5th discussing everyday people going about their business against the background of spies, counterintelligence missteps, and growing bias.