Fishing for Grandma by David Manu Bird

Fishing for Grandma

pupu-a-o-ewa-logo

Some of my favorite popular posts when I published Pūpū A ‘O ‘Ewa Native Hawaiian Writing and Arts at Leeward Community College were personal essays by students and faculty.

Fishing for Grandma, by my colleague and longtime friend, Dave Ka’apuwai “Manu” Bird, was first published in 2014.  About this essay, one of our readers wrote, “I especially loved reading Manu’s narrative…brought back some memories with my own ʻohana!” I know that in sharing his story, Manu was glad that someone else connected to their own kupuna. 

Manu joined his ancestors earlier this year after a brief illness. He leaves behind his loving family — wife Mary, son Keoni, daughters Mālia and Tinan, and moʻopuna — as well as his many students, colleagues, and friends. E Manu-Tok, nui ke aloha ia ʻoe.

Watch our video interview with Manu Bird.

Fishing for Grandma by Dave Manu Bird

“Goddam dis buggah!” I exclaimed as the kūkū of the pua hilahila dug into my hand. Like the entire old cemetery beside the Waikāne Congregational Church, the grave I was cleaning was infested with the thorny plants.

“Please remember where you are,” Mary scolded, taking umbrage with my profane language.

“How can forget?” I shot back.

“Well, if you cannot respect God, you could at least respect the dead.”

“So?” I muttered to myself. “Stay make da kine make guys anyway.” With that, I knew that I was getting stink eye from my wife.

My sarcasm was the result of stress, not how I felt. As I surveyed the graves around me, I still couldn’t believe that Grandma was gone. Her death still didn’t seem real. What was real, however, was the pain of the kūkū poking my knees through my jeans. Once again I bent over, carefully pushed my fingers under the branches of another pua hilahila plant, pinched its stem tightly, and yanked the whole thing out of the ground by its long tap root. I threw the plant on a nearby ‘ōpala pile and reached for another.

It was hot, and I was sweating, but as I worked I could not help but remember Grandma’s voice even though it had been physically stilled forever. I couldn’t help but think how much Mary and Grandma often sounded alike. They both usually spoke that crisp English locals always speak when they don’t want to sound local. They e‑nun-ci-ate care-ful-ly.

“When are we going?” 13 year-old Keoni whined, pulling me out of my reminiscing. He was bored and wanted to get on with our picnic and fishing expedition to Kahana Bay, our destination after the graveyard.

“‘E Keoni, kulikuli, ‘eh,” I responded.

I didn’t need a punk kid’s hassles adding to my misery. I was wilting because of the heat, the kūkū, and the complaints. I was also getting tired of the general uneasiness I felt because only Mary, Keoni, Mālia, Tinan, and I were there at the graveyard. It did not seem right to me that only our nuclear family was taking part in Grandma’s post-funeral funeral without representatives from the extended family, even though no-one else was able to join us.

Grandma’s formal funeral had been held the month before. Family members hadFishing for Grandma gathered together from Kaʻimukī, Kailua, Kāne’ohe, Nānākuli, and the Mainland. That day, we scattered most of Grandma’s ashes along with thousands of flowers and prayers off of Kahala Beach Park. We gave Grandma back to her beloved moana and ‘āina at that place because it had been one of her favorite fishing spots, at least in the days when Kahala consisted of groves of kiawe trees, a dairy farm, and a hodgepodge of week-end beach cottages. Before the main funeral started, Mary and I put a kapu on a little bit of Grandma. We wanted to bring a part of her to the windward side, another of her favorite fishing areas. That day in Waikāne, we had two film canisters filled with Grandma’s ashes, all that was left of her in this world.

Finally we could read the inscription on the grave headstone that I was cleaning:

Martha Koolau
Died Dec 10, 1931
Age 50 Years

Martha Ko’olau was Grandma’s mother; Grandma had lived to be 92.

My cleaning work finished, I stood and stretched. One of the kids retrieved a discarded pua hilahila and used it to brush the dirt off of the gravestone.

I suddenly felt strangely light-headed and absent minded. “Pau dis,” I said. “Mu fek ea nunuw nga. . . I mean time for da lei and stuffs.”

Without thinking, I had momentarily switched into our hānai daughter’s native language. Then as I looked down at the grave, it struck me how kapakahi we all were – and are. We are like cultural schizophrenics who switch personae seemingly without reason. We were exactly like what Grandma had been. For years I tried to understand Grandma, the last family member born in the 19th Century and the only one we knew who had seen, talked to, and had even sung for Queen Lili’uokalani. But Grandma had been like a mo’o that changes its colors. She was hard to see because she blended in with her immediate surroundings. She never told us very much about herself. She was excessively reticent about her childhood and early adult life. She never talked about her mother. So what about us?

My sudden question was a revelation. If Grandma was an enigma, then so are we. Who was Grandma? By extension, who are we?

Mary and the girls began laying lei, flowers, and lā’ī around the headstone. As they did, I looked out at the vehicles roaring past on Kamehameha Highway a few yards from us. The sight of the cars pulled my thoughts back to long ago when we were traveling down the same road …

… Has it really been 20 years since we passed here in Mom Z’s old Chevy II station wagon? We were headed for Uncle AP and Auntie Sam’s beach house in Ka’a’awa for a week’s worth of fishing and swimming, a mid-summer break and the ‘oama season we always looked forward to. Grandma’s voice and Grandma’s words that day are still as clear to me now as a Kāne’ohe Bay reef when there’s no run-off pollution to silt the water. She was scolding me.

Auntie is stupid. You are stupid for letting her make you take these bananas. I would never have gotten in the car if I had seen them. You never take bananas and manure to the beach. When you “ go to the mountains,” you must do things properly.

I no like take kūkae no place, especially holoholo.

Boy, no tok lai’ dat! Speak pro-per Eng-lish .…

That was vintage Grandma. Rarely, though, did she raise her voice like this to me or her other mo’opuna. She didn’t have to. She never touched us, but she could whack us aside the head with a withering look if we did something that displeased her or violated her sense of propriety. To this day, she is alive. I know so. I can no longer give her a hug or kiss her on her velvety cheek, but there is little I do unless beforehand I ask myself If I do this, would Grandma’s maka smile at me or give me stink eye?

But who was this woman? And by extension, who are we?

Occasionally Grandma would pass on to us snippets of Hawaiian lore and protocol, especially about fishing – her life-long passion. But what about the rest of the mana’o she had gathered during the course of her long life? What about growing up in rural Puna, attending Saint Andrew’s Priory as a boarding student, and singing on the Hawaii Calls radio program in the 1930s and 1940s? What adventures did she have? Whom did she know? Why could she understand spoken Hawaiian but not put two words of the language together to speak it?

As I stood by the grave watching Mary and the kids arrange the lei, I could only speculate. She was not atypical for her generation or the next in her reticence. Could the effects of 1893 have silenced them all? Hawai’i was once one of the most literate nations on earth with an active Hawaiian language publishing industry and citizens who were avid readers and writers. In 1896, the haole leaders of the Republic of Hawai’i passed a law banning Hawaiian as a language of instruction in schools, a law that was not repealed until 1983. Teachers physically beat children if they spoke Hawaiian, and teachers visited their students’ homes and scolded their parents for speaking Hawaiian in front of their children. The Hawaiian language almost went the way of Latin. Were these the reasons for generations of kūpuna silence?

Who was Grandma, a person who was born in Old Hawai’i but who died in Modern America? Who was this person who worked as a faithful cashier at the original Willows restaurant in Mo’ili’ili for decades until she was in her 70s? She had a strong American work ethic, but still she would occasionally drink Scotch before work or call in sick to go fishing. What caused her to be kolohe?

And who are we? As we stood by the gravesite, I could not help but wonder what perspectives we no longer understood and probably never would because of Grandma’s silence. I felt like we were already at Kahana Bay, trying to catch fish in depleted and degraded waters.

Mary brought me back into reality, for the ho’okupu was in place. We stood around the grave holding hands over a prayer, and then we took turns sprinkling Grandma’s remaining ashes over her mother’s grave. We knew that eventually the life-giving ua would soak her remains into the sacred ‘āina, mingling her with her mother’s iwi and binding us once again to the long line of kūpuna and ‘aumakua that stretches back into antiquity.

After we finished scattering Grandma’s ashes, we once again joined hands for pule. “E ko mākou makua i loko o ka lani,” Mary began to intone. But just then a long line of tourist buses heading for the Polynesian Cultural Center roared past 15 feet from us, drowning out Mary’s words. The buses’ diesel engines blasted us with storms of blue-black exhaust and silenced our prayer to Grandma and to God.

Photo credit: Mary Bird. Interview video: Rokki Midro.

E Heluhelu Kākou: No ke Anilā

E-heluhelu-kakou

The Hawaiian language — ʻŌlelo Hawaiʻi — is a beautiful, rich language. Thanks to the internet, ʻōlelo can now be heard across the globe. E-heluhelu-kakou

Read-aloud versions of childrenʻs books in English are readily available online. And now thanks to Kamehameha Publishing, books in ōlelo are, too.

I am pleased to feature No ke Ahilā — Our Hawaiʻi Weather, a delightful bilingual boardbook for keiki, written by Kaulana Domeg and Mahealani Kobashigawa and read by fluent ʻōlelo speaker, and wonderful presenter, Makiʻilei Ishihara.

Credits: Used with permission from Kamehameha Schools (Mahalo!)

Interview with Writer Brandi-Ann Uyemura

Our ongoing series on Native Hawaiian and local Hawaiʻi writers continues this Brandi_Uyemuaweek with my friend, author Brandi-Ann Uyemura. Writing coach, blogger, coach and author, Brandi does it all. Her articles and essays inspire hope, courage and compassion. An Asian American who grew up in Hawaiʻi, Brandi brings a much needed authentic voice, not just for Asian kids in Hawaiʻi but for all kids, everywhere.

Hi, Brandi. Thank you for allowing me to feature you. For those who haven’t met you, could you please tell us a little about yourself?

Hi! I’m Brandi, a writer and mom of two young boys. I grew up in Honolulu, Hawaii and went to Aiea High School.

Go Na Aliʻi! Who is your biggest supporter?

My husband. He’s been with me from the very beginning when I was getting my master’s in counseling psychology and veered off course to be a freelance writer. The latter and marrying him were the best decisions I made (besides having kids)!

Why did you become a writer? What inspired you to write for children?

I think I’ve always been a writer. I just didn’t know you could do it for a living. It’s funny I coach creative women and I often say that the thing you say you would never do, is often the thing you want to do most. When I got my BA in English from the University of Oregon, I could have gone the children’s writer route, but I never thought I would write for kids. I even interned at Skipping Stones, a multicultural children’s magazine.

One of my earliest memories in school was having to create a picture book. I think it was about rats or something lol. It was a pivotal memory because I remember thinking: wow you mean I can write a book?

What do you enjoy most about writing for kids? What are some of your greatest challenges in writing for children?

I have fond memories of reading books in my youth. It was that one moment when I felt that visceral experience of being in the story. I think every reader remembers reading Charlie and the Chocolate Factory and wanting to eat chocolate or getting chicken skin from Toni Morrison’s Beloved. I’ve almost never been able to recapture that feeling as an adult. When I write for kids, I get that magical experience of feeling like anything is possible.

Oh, yes, I know what you mean. What are your hopes and dreams for the year and beyond in terms of your writing career and what you would like to see published in the future?

I hope to get more of my picture books on submission and my middle grade mystery in submission shape. I have other fiction novels that I’ve started, another middle grade, and two women’s fiction novels. Once my kids are in school again, I hope to really get deep into those.

I think I will always be a writer. Fiction is new to me and yet, it feels like coming home There’s something fresh and delicious about writing fiction that I haven’t experience writing nonfiction.

There are not a lot of stories for local kids by local writers. Why do you think that is? What do you think we can do to change that?

I don’t know exactly why that is. And you and I have had conversations about that. It’s so important to have these unique cultural experiences on the bookshelves. I think we need to support other local and indigenous writers with stories to tell. I think what you’re doing: writing about your own culture, working to get them published and featuring local writers and authors on your website are pivotal ways to change the landscape.

I agree! Do you have a website? Are you on social media? Do social media play a role for you as an author? Do your readers contact you? What do they say?

I have two websites: The Inspiring Bee and Brandi-AnnUyemura.com. The Inspiring Bee was created decades ago and is all about inspiring people to follow their purpose. The other website is a place for writers. Both have helped me get jobs and connect with writers in the decade or so that I’ve had them so I am grateful for both.

I’m on Twitter, Facebook and Instagram all with @TheInspiringBee. I met my first freelance writer friends over a decade ago through my blog and Twitter. I’ve also met IRL mom friends and coaching clients solely through Instagram. Right now, I’m prepublished, so I’m using social media as more of a way to connect and find inspiration from other creative’s platforms.

What advice do you have for aspiring writers?

If I were to speak to an aspiring writer, I would tell them their words matter. There is always room in the collective for their voice and that anything they don’t know, they can learn. The main thing is to keep going. The only way to become the writer you dream of, is to write. Write despite fear. Write despite insecurity. Write despite what anyone else says. And don’t show your work to anyone in the early process. Give yourself the freedom to express and put everything down on paper. You can always go back to revise.

Can you share a bit of your current work?

I wrote a picture book about the local Japanese Bon Dance here in Hawaii. Originally, it was written in third person and was basically a documentary on a real scene at a Bon Dance lol. I had no idea what I was doing. It has had multiple iterations since then and is now written in first person.

What beliefs are your stories challenging?

I think culture, courage and being and accepting yourself. It’s a story about connecting with your ancestors.

What is your inspiration for your stories?

My own life as a mom raising two boys for sure. And my family’s life growing up in a sugar plantation in Kauai. It’s a mix of everything I’ve read, researched and lived.

Which characters do you relate with easily? Why?

I can relate to my main character being afraid to dance in front of everyone. I really grappled with this story for years until I had an amazing mentor, Andrea Wang from PBChat. She helped me to get to the heart of my story.

That’s cool. Are you working on a new writing project? Can you share a bit about your next book?

I am revising a middle grade mystery. It’s about six years in the making. What motivated me was receiving a SCBWI mentorship and Highlights scholarship. These came right when I was about to throw in the towel. It’s a story that blends my own past experiences working at a chocolate store, as a private investigator and middle school therapist. It’s a chocolate mystery about an Asian American girl growing up in an almost all white community where she befriends her former nemesis and bully, and learns that we’re all a mix of bitter and sweet. None of us immune to the evils of the world.

 

That sounds intriguing Brandi. Mahalo for sharing your manaʻo and best wishes always! To contact Brandi-Ann Uyemura, visit her on social media or The Inspiring Bee and Brandi-AnnUyemura.com

A Nation of Our Own, Spoken Poetry by Chris Oliveira

pupu-a-o-ewa-logoNative Hawaiians have a rich oral tradition that spans over a thousand years. Our stories are told in many forms: songs, chants, hula, legends, ʻōlelo noʻeau, and word play. Modern Hawaiians continue our ancient tradition by weaving their stories into beautiful spoken poetry.

Chris Oliveira is a fluent Hawaiian language speaker and a dedicated Hawaiian activist. Hailing from the Waiʻanae Coast, he is the Vice President and Executive Director of Koa ʻIke, a community non-profit organization that focuses on place-based, service learning educational initiatives and student exchanges.

First published in 2014 by Pūpū A ʻO ʻEwa, A Nation of Our Own is a powerful, provocative lamentation on the loss of our sovereignty dating to the 1893 U.S.-backed coup dʻetat that overthrew our indigenous government. Mahalo nui, Chris.

Watch our interview with Chris

A Nation of Our Own, by Christophor Oliveira

When will there be an end to this occupation, a nation of our own choosing

Imbedded in the population were waiting for retribution

Suspended in animation by paperwork so confusing

Their faulty documentations for faking a revolution

Pretended the annexation with a blemished joint-resolutions

The same old operation they’ve been using since since back with Newlands

A general pacification intended as restitution

But we want repatriation and the reinstatement of our constitution

Now we contend with the aggravation, the sentence is destitution

With the falsest of allegations implementing our execution

We suffer from mass enslavement they profit off institutions

Were put in for misbehaving, but their guiltʻs already been proven

Much more than edification were offended and disillusioned

So we focus on education and nothing less for our future

Look to our past in admiration in reverence for our kupuna.

Credits: Posted with permission by Chris Oliveira. Performance recorded by Leeward Community College Educational Media Center; interview video by Rokki Midro.