Interview with Illustrator Dru Santiago

Dru-Santiago

Hauoli Makahiki Hou, everyone! I love the start of a shiny new year. We also celebrate Chinese New Year around here. Kung Hee Fat Choy

What better way to start a new year but with talented Native Hawaiian and Hawaiʻi based writers and creators!

Meet the wonderful Dru Santiago, Hawaiʻi based illustrator and the 2021 Society of Children’s Book Writers and Illustrators Narrative Art award.

Dru-Santiago

First of all, congrats, Dru! For those who haven’t met you, could you please tell us a little about yourself?

Hello! My name is Druscilla Santiago, and I draw pictures for kids and grown ups. I’m from Waipahu, but I live in town with my husband and our son, now. These days, I mostly work on illustrating kids books, but I also do private commissions and graphic design/illustration work for local businesses and non-profits.

Where did you grow up? What high school did you grad from? 

I love this question! I lived on the mainland for a while in my twenties, and every time I ran into someone from Oahu, we’d always be like, “What high school you grad?” Without fail. And I’m proud to say I graduated from Leilehua High School in Wahiawa. Go mules!

Dru-cookingIndeed! My husband, Tim, is a proud Leilehua grad, too. Why did you become an illustrator? Did you always know you could create art?

I think I’ve always been an illustrator even though I didn’t know to call it that. I’ve loved to draw since I was a kid. My mom went to art school when I was very young, and I used to watch her draw and get into her expensive art supplies and draw my own little pictures alongside her. From there, my love of picture books, cartoons, and comics sort of lead me to this career.

That’s so cool. What do you enjoy most about illustrating? What are some of your greatest challenges?

Ooh. So, I kind of live in my head and drawing is the best way to express myself. You know? It’s like talking. So in a way, what I like specifically about illustrating is that I can tell a story without having to say words.  And I think the greatest challenge of being an illustrator is taking this love of drawing and making it a job. Because my mind wanders, and it’s important to stay on task. So maybe the real challenge is staying focused? Yeah, that’s it. Dru-art

What are your hopes and dreams for the year and beyond in terms of your artistic career and what you would like to see published in the future?

I’m just getting started, so my hope and dream is to keep going!

Do you have a website? Are you on  social media?

Yes, my website is adventurefun.club, and my instagram handle is @adventurefunclub. I’m on instagram more than I should be, and while I enjoy engaging on social media, the best way to contact me is via email. Don’t get lost in the DMs! 🙂 

What advice would you give an aspiring illustrator?

I would say, what I tell myself all the time, there is no “right” way to achieve your goals. Keep working at your craft, and you will get there. For real. And if any aspiring illustrator reading this is particularly interested in Picture Books? Join Society for Children’s Book Writers and Illustrators! Seriously, click this link: https://www.scbwi.org/  Joining SCBWI and attending a national conference was incredibly helpful and enlightening for me. 

Can you share a bit of your current work?

I’d love to! I am currently working on a Hands-On Science series by Lola Schaefer. It’s my first picture book project, and I am loving it. The first book in the series, called MATTER, is set to be released this summer 2023. The other two books in the series will be about Geology and Motion.Dru-art-surfer 

We love STEM picture books! Can you share a bit about what you’re working on next?

Not really next, but in addition to the Science series, I am working on a wonderful book called A HAT FOR A HOUSE by Audrey Perrott. I’m not sure how much I can say about it, but it’s exciting! 

It is! Mahalo, Dru! We’re looking forward to your upcoming books! To learn more about Dru Santiago and view a gallery of her sketches,  visit her website and blog, Adventure Club

MELE KALIKIMAKA a me HAUOLI MAKAHIKI HOU!

Christmas-2022

As 2022 ends, I look back with aloha and gratitude to the many people who have made such a difference in my writing life.

Christmas-2022

Mahalo nunui to the wonderful writers and artists who shared their manaʻo here on my blog this past year — their hopes and accomplishments continue to inspire us.

To the many wonderful writing friends I’ve made, especially at Writing Barn’s CtC community, my aloha always. You are a source of encouragement and wisdom I know I can count on.

Thank you, Brandi Uyemura, for letting me bounce ideas off of you and for sharing your wonderful writing with me. 

Mahalo to my agent, James MacGowan, for believing in me. Team James all the way!

I look forward to sharing good news in the coming year about my debut picture book as well as a new website focusing on Native Hawaiian and Polynesian creators! Aloha from my ʻohana to yours! See you in 2023!

Interview with Author/Illustrator Caren Loebel-Fried

Caren-Loebel-Fried

Our ongoing series of interviews with Native Hawaiian and local Hawaiʻi writers continues this Caren-Loebel-Friedweek with Caren Loebel-Fried, the talented award-winning author/illustrator. 

Aloha, Caren. For those who haven’t met you, could you please tell us a little about yourself?

Aloha, Kamalani. I’m an artist and author from Volcano, on Hawai’i’s Big Island. My favorite things are exploring wild places, watching and learning about birds, making art and telling stories about these things.

Where did you grow up? 

I grew up on the New Jersey shore, going to the beach in the summer.

Who is your biggest supporter?

My husband encourages and cheers me on, and sometimes joins me on my research adventures. Many biologists, cultural practitioners, teachers, and librarians also support my work, and help me get the story right.

Why did you become a writer/illustrator?

My mom is an artist and still is my greatest inspiration. I was always drawn to making art. And my art has always told stories. When I had the opportunity to create books, I worked to be a better writer. Now I tell stories with words AND pictures.

What inspired you to write for children?

Picture books were a natural fit for me. But I have to admit, I create my books for Legend-of-tall ages — keiki and the adults who read to them, and anyone who enjoys a compelling story. I’ve always loved reading books written for all ages, and I collect art-filled books that inspire me, no matter what age they are intended for. 

What do you enjoy most about creating for kids?

I love sharing with a curious audience, and most keiki are open and curious.

What are some of your greatest challenges?

My aim is to be a voice for wildlife. My greatest challenge is persuading people to care about and want to help native species. I try to do this in a fun way, by creating engaging stories and art that capture the spirit and personality of the individual animal (including human!), plant, the natural elements and environmental Polufeatures that are my subjects… I aim to make art that is colorful, engaging, alive. I am also interested in culture and how we humans live in our world, interact with our environment, and our connection to place. Many of us have lost a feeling of connection to the natural world. I try to awaken or reawaken that connection.

What are your hopes and dreams for the year and beyond in terms of your writing/artistic career?

This year, I’ll be working on my next book with University of Hawai’i Press. This story is about Makani, a young Hawaiian girl named after the wind that seabirds depend on. Makani adores ʻuaʻu, the Hawaiian petrels that her biologist mom works with. Seabirds are so cool! But their lives are completely hidden from us. They live over the ocean and only come to land to breed, flying in the dark of night, and nesting in burrows underground. I’ll be telling their amazing story Lonothrough the experience of Makani. I hope this book inspires readers, especially girls, to explore science, art, and storytelling. There are many ways to help wildlife! We can all find our own way to help preserve wildlife and wild places.

Do you have a website? 

I do: https://www.carenloebelfried.com/. And I have a YouTube Channel: https://www.youtube.com/channel/UCNgbp1m6lsf6d4w89oV6ung

What advice would you give an aspiring writer/illustrator?

Keep creating! Discover the things that are important to you and tell about them in your work!

Which characters do you relate with easily? Why?

My last book, Manu, The Boy Who Loved Birds, is about a young boy named after Manu-the-Boy-Who-Loved-Birdsan extinct Hawaiian forest bird. I relate to Manu desperately wanting to know the meaning of his name, and leaving no stone unturned in his journey of discovery… and also his difficulty in believing that extinction is forever. I also relate to Manu’s parents, who won’t just give Manu answers, but instead give him the opportunities to make discoveries himself. I tried to do this with my own son when he was growing up, and now I do it with my readers and my books!

Thatʻs a beautiful book. What beliefs are your books challenging?

It’s hard to hear, learn, believe that things we do may be unintentionally hurting wildlife. I try to present the facts, for people to know for themselves. But I also present ways that people can help. I try to write hopeful, inspiring stories and give people the tools to be an active part of the solution.

Where do you get your ideas and inspirations?

I see something cool out in nature almost everywhere and think, Wow- THAT would make a great storybook!

Mahalo, Caren, for allowing me to interview you and for sharing your manaʻo! To learn more about Caren, and to see a gallery of art pieces and to contact Caren Loebel-Fried, please visit Carenʻs website.

Ka Poʻe Kiaʻi, The Guardians of Mauna Kea, Photographs by Kai Markell

Carrying the future

Protests about the building of huge astronomical telescopes at the summit Mauna Kea have been going on for decades. They’ve only recently been brought into focus because of the planned Thirty Meter Telescope. As descendants of the earliest Polynesian voyagers, the kanaka ʻoiwi have always understood the importance of astronomy. But for a people who have long suffered the loss of their country and autonomy, desecration of their sacred mountain and the natural environment must end. 

As seen through the lens of Kai Markell, Native Hawaiian activist, photographer, and attorney at the Office of Hawaiian Affairs, this collection of photographs, Ka Poʻe Kiaʻi (the guardians and protectors of Mauna Kea), documents one of the largest protests held at various locations in Honolulu. Whether  attending a rally at ʻIolani Palace with their families, meeting with officials from the Office of Hawaiian Affairs, or holding a sign all alone at a street corner, these poʻe kiaʻi feel deeply that their message must be heard.

Itʻs 2022 — seven years after this collection was first published a Pūpū A ʻO Ewa — we are still fighting.

  • Carrying the future
    Carrying the future

March On, a Short Film by Courtney Takabayashi

March On

Come along with Joe and Mara as they hunt for the night marchers in March On, the hilariously spooky video by my friend, the writer and storyteller Courtney Takabayashi. Be sure to watch through the credits for the lovable eccentric, Uncle Kimo. Courtneyʻs video is a past winner of the Halloween Video Contest sponsored by the Honolulu Star-Advertiser and Hawaii News Now.

The working mom of a toddler and a couple of fun-loving cats, Courtney admits that her website is a bit out of date, so to contact her, follow her on Instagram

Posted with permission by Courtney Takabayashi. 

Interview with Native Hawaiian Writer Adam Keawe Manalo-Camp

Adam Keawe

Our ongoing series on Native Hawaiian and local Hawaiʻi writers continues this Adam Keaweweek with Adam Keawe Manalo-Camp, the talented Native Hawaiian writer and blogger. If you’re a regular reader of Ka Wai Ola O OHA, then you’ve no doubt read Adam’s wonderfully interesting, well-researched articles about the history and culture of our people.

I’m a huge fan of your writing, Adam. But for those who haven’t met you, could you please tell us a little about yourself?

The homelands of my ancestors are Hawai’i and the Philippines. My grandmother grew up in Honokaʻa while my mother and I grew up in Kewalo within Papakōlea Hawaiian Homestead. My ʻiewe and piko are literally buried at Papakōlea. I also spent a chunk of my life in the Philippines. As far as my research background is mostly in history and anthropology.

Where did you grow up? What high school did you grad from?

I grew up within Papakōlea and am a product of Hawaiʻi’s public school system. I graduated from Roosevelt High School.

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)!

That’s awesome. Why did you become a writer? What inspired you to write for children?

In general, my ancestors. But my mother always encouraged me to write.

Why did you become a writer? What inspires you to write y0our posts and articles? 

I have always liked to write. The first time that a piece of mine was published was in the ʻŌʻiwi Literary Journal, and I was graduating high school. The late Māhealani Dudoit had discovered me through a long email chain where I was talking about the importance of King Kalākaua’s world tour of 1881. I was very self-conscious because ofbeing māhū, neurodiverse, and having English as my second language—Hawaiian was my first. Māhealani said she loved how unique my voice was and encouraged me to keep writing.  It took me a long time to realize that what I told in school were my weaknesses are actually my strengths.

Then some eight years ago, I began writing posts on social media and recently my other pieces and some of my research have appeared in Civil Beat, Ka Wai Ola o OHA, NatGeo, etc.

What do you enjoy most about writing? What are some of your greatest challenges in writing your articles and posts?

When I write posts, I think of them as love letters to my ancestors and to my culture. I do not have a social media calendar or plan things out. I write because something inspires me to and I found a particular topic interesting. I also write in honor of my grandmother and mother who used to constantly fill my thoughts with stories of their times and the times of the ancestors. I know many Kānaka Maoli who read my posts may not have their kūpuna around or have been scattered throughout Turtle Island, and so I would hope some of my posts may be a small light to remind them of where they came from.

Social media can bring so much positive attention to indigenous peoples but social media can also be challenging. Some folx are on social media platforms simply for clout or to attack people behind a wall of anonymity. I try not to focus on those people but to focus on the folx out there who are searching for manaʻo and want to engage in aloha.

I always learn something new from your posts. 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 have a couple of articles coming out this year including pieces on Kaomi. The pandemic sort of made me rethink my career and what I want to write about. I would want to write more local Filipino and queer histories as well as more on Hawaiian struggles from a historical point of view. I would like to also write more fictional short stories.

I always ask the following of the writers I interview: 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 think in general there aren’t a lot of works for children by BIPOC writers in general. A lot I believe is the lack of access to publishers as well as economic factors. There are a lot of creative Kānaka Maoli out there that I know of but due to the cost of living and other expenses, some see being creative as a side hassle as they feel that being creative cannot sustain them financially. I myself would not know how to get started in that field.

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?

My linktree is linktr.ee/adamkeawe That features links to some of my work and my blog. I got on Facebook about eight years ago, and on there I am admin for the Hawaiian History and Culture group, which has 34,000+ members. Instagram I got on right before the pandemic and that is where I am more active. I also have Twitter but am not too active on there. All of my handles for my social media accounts are: adamkeawe.

In general readers are supportive and engage in discussions.

What advice do you have for aspiring writers?

If your naʻau keeps pushing you to tell a story, youʻre a writer. Never be discouraged nor base your self-worth and your writing on how many likes of followers you have. In the end, you will connect with who you need to connect with.

Can you share a bit of your current work?

I have two pieces coming out soon. One is about Kaomi and another is about my motherʻs best friend who was a transwoman in the 1970s.

What beliefs are your stories challenging?

Patriarchy, settler colonialism, homophobia, racism, and anti-Semitism.

Where do you get your inspirations?

I draw a lot of my inspiration from my ancestors and talking to other Kānaka Maoli. But I also read other writers from various genres including Joy Harjo, Ninotsche Rosca, Noam Chomsky, Langston Hughes, Audre Lorde, Stephen King, and so many others. Science fiction such as The Expanse, Star Trek: Deep Space Nine, and Babylon 5 inspires me as well.

Your articles and posts demonstrate a lot of research. Whatʻs your research process like? How long is your research for a typical article?

Normally I have at least three sources per article. In social media posts, minimum two.  Before I begin a major writing assignment, I chant “E hōmai…” and ask to be guided. I do the same privately before entering a library or archives. I am mindful that research is ceremony and methodology is ritual, and I try to bring that into whatever I am working on.

Have you ever considered writing a longer work, like a book or screenplay?

Yes. I would rather collaborate though because of the time that it takes.

Can you share a bit about what you are working on next?

I am collaborating with Kumu Lua Michelle Manu on a book about women warriors.

Women warriors? I look forward to that. Adam, mahalo nui for sharing your manaʻo! To learn more about Adam Keawe, visit his LinkTree

Moke Action, by Award-Winning Native Hawaiian Filmmaker ʻĀina Paikai

pupu-a-o-ewa-logoHawaiʻi Creole English — called “pidgin” by its native speakers — dates back 100 years to the sugar plantation days. Immigrant workers, first from China, then Japan and other countries, needed a way to communicate with their fellow workers and with the people who lived among them, the Native Hawaiians. Pidgin is still spoken in Hawaiʻi, and being fluent is a source of great pride by its speakers. Pidgin is what makes us local.

One of the most popular videos we published at Pūpū was this little gem, Moke Action, an early film directed by the talented Native Hawaiian filmmaker ʻĀina Paikai. Not surprisingly, ʻĀina would go on to make many award-winning short films, including the wonderful Hawaiian Soul in 2020. Moke Action, starring Brutus LaBenz, Brahma Furtado, and Liona Arruda, is the tale of two young men who nearly get into an unfortunate scuffle. Happily, they are prevented from committing violence, thanks to their respect for their elder. Or, in pidgin:

Two guys like scrap til aunty wen scold dem.

Exactly.

Posted with permission by ʻĀina Paikai. 

Interview with Author Dani Hickman

How About a Pineapple?

Welcome to our latest interview with Native Hawaiian and local Hawaiʻi writers!  Author Dani Hickman is the author of four delightful children’s books published by Island Heritage. 

Hi, Dani. For those who haven’t met you, could you please tell us a little about yourself?Dani Hickman

I’m a married local girl with four adult children. My youngest, who co-authored two of my books (How About a Pineapple? and Tako Lends a Helping Hand) just went off to college. My home in Waipio is still full with four dogs, one cat and one very fat beta fish. My day job is in Human Resources at a local adult in-home care service.

Where did you grow up? What high school did you grad from?

I’m a townie who graduated from McKinley High School. Go Tigers!

Indeed! Who is your biggest supporter?

My husband, Jeff, is my partner in all things. From raising the kids, to editing my writing, to being my arm candy at author events, Jeff has always been my rock. He is a Kamehameha grad and retired National Guard Veteran. His feedback and contributions in my stories definitely helps me add more “flavor” to anything I do.

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

I’ve always written short stories and poems since I was little. Publishing always seemed like something that was too difficult to achieve and I had no idea where to even begin. I had a co-worker, Tammy Paikai, who published a few children’s books and inspired me to give it a try. She was incredibly helpful and encouraging with all the behind the scenes stuff, like setting up for a book signing and being resilient during the editing process. I also LOVE her books. “Too Many Mangos” is my favorite Tammy Paikai book, so relatable in Hawaii and a great lesson of giving.

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

I love the book signings and reading at the schools! Meeting children and hearing them say how much they love the story is such a heartwarming experience. My biggest problem when writing for children is my love for big words. Keeping stories at 2nd grade reading level and replacing “verbose” with “talkative” or “mean” in place of “malicious” is a challenge. My kids always loved “big” words but my editor has a different viewpoint.

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’d like to publish a chapter book for teens with a Hawaiʻi storyline. Maybe even a Pono the Garden GuardianHawaiʻi graphic novel. I’d also love to do a sequel for my first book, Pono, the Garden Guardian. He’s my favorite little guy with a big heart. I have a rough idea of what I’d like his next chapter to be. Publishing another adventure for him would be amazing.

There are not a lot of stories for or by Native Hawaiians and Pacific Islanders. Why do you think that is? What do you think we can do the change that?

I agree that there are not enough Hawaiian/Pacific Islander children’s book authors. In my opinion, I think part of that stems from the Hawaiian culture itself. Hawaiian is a spoken language, traditionally passing stories through chants, song and dance. The lack of a written Hawaiian language did not become issue until the arrival of the missionaries. Today, there seems to be a limited group of traditional kumu who are perpetuating the culture as they always have, through oral teachings. I think more in the community are trying to reach out to keiki, but unfortunately, the pool of knowledgeable experts with a passion for writing and a focus on children’s stories is small. It may be helpful to have more outreach by cultural groups to encourage keiki to put their demands out there for books and also writing their own stories.

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?

My website is sorely out of date. Iʻm also on Facebook. I been have slacking off considerably in promoting my books in the last couple of years. My focus was on my family and getting my daughter set up for college. Now that she is in college, I hope to get back to it. I have gotten email sent from my website, direct messages and comments on facebook and my direct email. Most of the feedback was through social media. A majority of the comments were around how much they liked the characters. A few made welcome critiques of different directions the How About a Pineapple?story could have gone. My favorite bit of feedback was that I didn’t name the puppy in How About a Pineapple? I purposefully left out a name because I noticed many children coming to book signings mentioned that their dog was the dog in the book. I felt naming the dog excluded all those keiki with white dogs that wanted to imagine their puppy on an adventure. The dog is named Kea in the book description but not in the story, and I still appreciate the comment.

What advice do you have for aspiring writers?

READ READ READ! Learn how others weave their stories and develop their characters. All those different styles helps you find your own. Be open to feedback from others, it can only make you better. Write about what inspires you. Don’t be discouraged — keep trying.

Can you share a bit of your current work?

Rainbow Friends in the SeaThe last book I published was a baby book, Rainbow Friends in the Sea. I’ve always loved rainbows and wanted to write a color book for little ones. It’s a board book with a simple rhyming theme showing the basic colors of the rainbow in sea life. My favorite part of the book is a mirror in the end, because “You’re my newest Rainbow Friend.”

Which of your books did you have the most fun writing? Which were the most challenging?

Writing How About a Pineapple? with my daughter was the best experience. At 12 years old she was bursting with ideas and edits. It was a blessing working with her.

My first book, Pono the Garden Guardian, was the hardest to write. I invested a great deal of my heart in that book, and it was too long. The text needed to be cut in half. Cutting something you love down to its core was very difficult for me but also a valuable lesson. Great stories can be a relationship between the author and the reader. Using fewer words allows the reader to fill their mind with the pictures they create. The writing is just there to point and to guide.

What beliefs are your books challenging? 

I think there are many stories about heroes. I believe everyone can be a hero. You just have to decide how. My characters aren’t “super,” they’re YOU in different situations. They’re YOU choosing to be a good person in a small, but significant way.

What’s your experience with publishing your books?

I’ve had good experiences with my publisher. Island Heritage is well known for quality and has a history of amazing works. I’m honored that they allowed me to share my stories and support me as an author.

Where do you get ideas for your books?

I write stories I want my children to learn from. I take a lesson like self-less giving, doing what’s right and working well with others, and I have the characters show you why that lesson matters. Inspiration is everywhere and in common everyday things. Children’s stories should shine a light on a different way to look at something, from different perspective. It’s a great way to learn no matter what your age. 

Which characters do you relate with easily? Why?

The character closest to me is Tako Lends a Helping Hand. Tako wants to Tako Lends a Handhelp everyone but takes on more than she can do and ends up forgetting everything she’s already promised. Managing tasks and time while working with others to get things done is something I think many people can relate to. Tako is an octopus, so it’s a little wishful thinking to hope for a few extra hands on busy days.

Can you share a bit about your next book?

 I always have 10–12 books in different stages at all times. It’s common for me to put something down for months and come back to it with fresh eyes. The book I have that’s a bit farther along than most is a story about not wanting to go to bed. It’s got more of a national theme, and it rhymes, which is always a bit more challenging to get the rhythm right. Many parents can connect to a story of a child wanting to stay up a little later than they should.

Mahalo, Dani, for sharing your manaʻo with us! To contact Dani Hickman and learn more about her books, please visit her website at thedanihickman.com

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!)