Blog Digest from 2018-2023

The Trials of Imogene Sol: The Allies

Character Art!!!

One more day until The Trials of Imogene Sol publishes. I can’t believe it’s almost here!

In celebration, I wanted to share with you some artwork I had commissioned and share a little bit about Imogene’s network of support.

The star of the show:

Imogene Sol has worked hard to be a top-10 cadet at The Ring Academy on Serta. When the Final Trials begin—tests to determine her job placement—she’s ready. Her hope to shed her infamous name—a name synonymous with her traitor parents—rides on her performance. When a mysterious saboteur interferes with her Trials, Imogene must uncover who’s behind the treachery but who can she trust? The stakes aren’t just for her future anymore but her life. 

Here’s who she turns to for help:

Imogene and Vempur are best friends—as close as siblings. They’ve been their for one another since they both started at the Ring Academy in Year One.

Jenna became a friend to Imogene and Vempur when she started at the Academy in Year Three.

Tsua (pronounced: Zū uh) became friends with Imogene, Vempur, and Jenna when he was admitted to the Academy during Year Three.

Imogene’s newest ally—and the object of a crush she absolutely doesn’t want to acknowledge—is the academy Legacy student, Timeaus Kade:

I had so much fun writing these characters. I hope you enjoy them as much as I did.

Tropes: Found Family

Tropes—a device utilized in stories—are potentially powerful tools because like cliches, they exist in a truth we as readers are able to relate to. One powerful trope is the found family (also called the family of choice). Defined “[this] trope refers to a device in literature [...] where a group of characters find themselves united in a family-bond based on shared experiences, mutual understanding, and interpersonal connection,” (www.nypl.org). Of the tropes that occur in The Ring Academy: The Trials of Imogene Sol, the found family is one of my favorites. 

So, I thought it would be fun to share with you some popular books that utilize this trope:

General Fiction:

https://www.epicreads.com/blog/found-family-trope/

Romance edition:

https://www.shereadsromancebooks.com/found-family-trope/

Fantasy & Alternate History:

https://bookriot.com/found-family-fantasy-books/

If you’ve got a favorite book with this trope, I’d love to hear about it!


Source:

https://www.nypl.org/blog/2020/12/09/found-family-literature-celebrates-families-choice

3 Things I Learned About Reading Space Opera

I made mention of sci fi and dystopian in an earlier post (click here for that), but I’m circling back specifically considering the space opera. As a definition, space opera as a category is a story set in outer space that is typically simplistic in nature and dramatic. The most famous space opera: Star Wars. Nebulous futures, scientific explanations about flying through space, the end of the human race, robots, artificial intelligence, heroes who need to save the day. You get it, right? And with my focus on The Ring Academy: The Trials of Imogene Sol—which is most definitely a space opera—and its impending release, my mind is a bit preoccupied in this category.

So look…a lot of the same lessons I’ve mentioned from earlier posts apply here, but rather than be repetitive, here are three new ideas to twist the lesson which can be applied to any category of writing. 

Asking the Right Questions

Read any info heavy science fiction novel (ah hem… Dune…) and you’ll understand that just like a fantasy story, it’s easy to get caught up in the minutiae of the information that defines the story. The problem, of course, is information dumping and information overload (which I’ll cover in a moment). This turns off most readers. What great writers in the category do well is parcel out information that is relevant to the necessary questions. Of course a reader has questions about the world, but not all the questions are necessary to the story. Not all of them fill in the gaps of the plot hole. While the author has a lot of the questions answered, that doesn’t mean the story needs all of them answered. The trick is identifying which ones need to be answered for the sake of the story.

One of my favorite dystopian writers is Paolo Bacigalupi (Ship Breaker, The Drowned Cities, and Tool of War). The cool thing that Bacigalupi does that I’ve seen some of my favorite fantasy writer’s employ is drop the reader right into the world and unfold the world around them as if the reader is already a member of the society. I LOVE this technique. A perfect literal example of this technique  is The Maze Runner by James Dasher. The reader is Thomas dropped into the maze having to learn on the fly what’s what and how he fits in. The pros of this is that you avoid the pitfall of the info dump, and like the character, the reader uncovers the world and the conflict as they go. 

There is inherent danger in losing the reader when an author embarks on information overload. I get the temptation to include all the cool things developed in world building, but just because it exists, doesn’t mean it’s relevant to the narrative arc. Well-written books in this category recognize this and employ an “as needed” methodology by understanding which questions need to be answered.

Which leads to the next point…

The Structure (the world and creatures)

Space opera (which encompasses Sci Fi/Dystopian) writers build worlds like fantasy writers, but then they destroy them. There is a methodology to this madness of course, even if they make it look effortless. But then consider that a wonderful fantasy story’s world is important to overall conflict from political machinations to traditions and systems impeding a hero’s journey. In Sci Fi/Dystopian the structure of the world and its demise is often the narrative architecture around which the conflict is built.

It’s clear when we enter habitat with Mark Watney in The Martian by Andy Weir, the structure of not only the immediate place is a functional place, but also that as a reader, the structure of the story is about survival. We are surviving with Mark, we are invested in his success, in the tension between learning he will connect with NASA. Or as we siphon through the missives of World War Z, the means by which author Max Brooks structured the novel makes it necessary to understand the hows and whys and what-fors in order to understand the movement of the narrative. The world, the creatures (think Alien) are so integral to the story, they can’t be removed or changed without impacting the overall narrative structure becoming a character in and of themselves.

Which then leads to:

Reader Story Interface

It might be easy to develop a story in this category so high above a reader’s understanding that it becomes inaccessible. But strong writer’s of this category make sure that the average reader is as much an expert as the scientist character or the super computer. Isaac Asimov is a great example of this. A very talented scientist (physicist), he was a pioneer in the science fiction realm of writing, making science fiction accessible (check out his Foundation series).

And really, that’s what any category is about right? Making the narrative accessible to the reader so that they fall in love with the story.

The Dangers of Myopic Reading

A Call to Read Widely

A few months ago, there was a Tik Tok that made its rounds on Booktok by a book reviewer (who happened to be white) commenting on the dark, academia fantasy Babel by R. F. Kuang. In the short review of the book, the review indicated that she hadn’t liked it because she couldn’t “identify” with it. Her reason why? Because she wasn’t Asian.

Hit the breaks.

Screech.

WTF?!!?

The Tik Tok review blew up and not in a good way. Commentary dragged the creator and for good reason. Ignoring the reviewer’s problematic assertion, which was racist at worst and bigoted at best (she has since removed the content so I couldn’t link it, which lends itself heavily to the assumption it was problematic), isn’t that—reading about alternative perspectives—why we read? Whether it's to challenge our perceptions about some big picture topic, to learn something new, to experience the emotions of a character’s experience, thereby gaining empathy. Aren’t these the reasons why we pick up stories?

Why do you read?

Maybe I’m a Pollyanna (for you youngins unfamiliar with old-school Diseny movies, that just means I look at the world through rose-colored lenses), my assertions about reading filled with naive idealism. For me, reading has always been about joy and emotion. I love romance novels because there is a beautiful rhythm of predictable happiness which offers me that measure of that happily-ever-after. I enjoy thrillers and mysteries because of the mental game required in the chess-match of character and plot movement resulting in a satisfying capture of the “bad guy”. I enjoy non-fiction because it challenges me to learn something new. I enjoy reading outside of my own sphere (white, cis-het female) to broaden my lens of the world around me and to gain insight into another’s experience.

But then I recall several romance books I read around the same time, right around the time the Supreme Court overturned Roe v Wade. Recommended on Tik Tok, these titles were written by widely read, financially successful, well-known authors (both cis-het, white women; one’s got a movie deal). Thinking about these books makes me cringe. They were filled with awful stereotypes and reinforced horrific paradigms around white, cis-het relationships. Damaged, alpha males whose horrible behavior (i.e., messing with the heroine’s birth control to get her pregnant, gaslighting, etc.) toward their partners was excused and even forgiven. The heroine’s agency stripped and idealized because if she was just “nice enough” she could “save him”. 

It still makes me want to scream.

For so long, traditional publishing has been heralded as the “gatekeepers” of culture, touted in a good way. And yet it is a severely dysfunctional system reinforcing the intersectional bias and prejudice of racism and sexism (along with a plethora of other -isms). Historically male, historically straight, and historically white, these perspectives have shaped a culture. It has only been in the last five years give or take a few more that American Publishing has seen a shift to invite marginalized voices to the table, and we aren’t anywhere near where we need to be (see this essay on diversity and inclusion in publishing). But publishers are adopting diversity statements (whether this provides meaningful change in the business of publishing remains to be seen). Only inclusion for new and diverse voices has largely been pushed by independent authors, independent publishers, and small presses, while the big names are playing catch up.

And now that we’re seeing more diversity in publishing, government is working to silence these voices via book bans.

Besides the obvious, the problem with this “gatekeeping” as it relates to Tik Tok reviewer and her “couldn’t relate because I’m not Asian”, is that it reinforces the systemic, racist, sexist, problematic cultural issues. This reviewer couldn’t get past her own perspective to build empathy about another’s experience as a human on this planet. But it is stories that help us understand our place in the world, our human condition. This isn’t a new idea. Joseph Campbell did extensive anthropological work on the mono-myth across cultures, identifying common pieces of the structure, and this common framework serves to reinforce the idea that stories—no matter the culture or perspective—are a means to make sense of the world around us. 

Look, if a reader only ever picks up books written by people who look like them and understand the world as they do, then why would they ever be challenged to see something differently? And if that reader then goes out into the world armed with their very myopic view of the world and interacts with someone with a different experience except that reader only associates their myopic worldview to the interaction, it's a recipe for epic-Karenesque disasters—or perhaps things like storming the capitol, gun violence, book banning, the retraction of women’s rights, fascist nationalism.

As a high school English teacher, I work with my fifteen and sixteen year olds exploring the idea of our perspective. We discuss how our worldview is shaped, but then also how it is challenged, and notoriously you know what challenges it? Stories. And that is what I will leave you with today: a few stories that challenged my perspective and helped me see through another’s eyes to shift my worldview. 

My Trek...Journey...Quest to O'ahu Independent Bookstores

I love bookstores. LOVE THEM! It isn’t surprising for a bibliophile and writer, but for this Oʻahu resident—especially one that lives on the south shore—access to bookstores is problematic. With the closure of Borders in 2011, it left Oʻahu with a single, big-chain bookstore, Barnes & Noble located in Honolulu, and a smaller Japanese conglomerate called BookOff. So I decided to go on a trek…a journey… a quest (FYI, this must be said like Peregrin Took from Peter Jackson’s Lord of the Rings, the Fellowship of the Ring) around Oʻahu to look for independent bookstores. There is something magical about walking into an independent bookstore done right. They are imagination bottled between four walls with the possibility of discovering buried treasure. 

So before you go on the quest with me, a comment on island living for context. Though everything as the crow flies seems close and the mileage between cities on an island like Oʻahu sounds manageable, the reality of trekking those miles is a production. During peak traffic, for example, to get the 20 miles from my home to Honolulu would take a minimum of an hour, give or take an extra 30 minutes, which means that a quick trip to a bookstore isn’t happening. There aren’t any bookstores in my area of the island, which means traveling to a bookstore is a necessity—including the single Barnes & Noble.

But this intrepid explorer was committed, and so off I went . . .

The first store I visited was Da Shop: Books + Curiosities located in Honolulu. An independent bookstore operated by small, independent publisher, Bess Press Publishing, it caters to Bess Press titles—mostly local and Hawaiian—with some niche national publications thrown in. It is a small shop, with a very curated front face along with a back warehouse for clearance titles. I loved that they have a true adherence to Asian Pacific Islander voices with a smattering of mainstream voices, all thematically connected to truly diverse author options. I enjoyed walking in the small shop and seeing so many AAPI authors. 

Idea Music and Books was the next location I visited. Also in Honolulu, Idea has been in business since 1976. The space is split into two sections: the front portion of the store caters to the new-and-used music with a plethora of vinyl in stock. Idea seemed like a dream for the music lover. It was organized and clearly marked. The back portion of the location is filled with books, mostly used titles with a smattering of new books. While they are shelved by categories, the organization is haphazard. If one is willing to dig for buried treasure, Idea had a treasure trove of older titles, and I found a stack of difficult-to-find titles on a particular subject I’m interested in researching.  

Deep in the hallways of an older mall with limited foot traffic is a hidden treasure, Village Books & Music, a “friends of the library” bookstore that supports Hawaiʻi libraries. As bookstores go, this one was the most “mainstream” offering all kinds of titles and organized nicely by category and author. I could have looked over the shelves for hours. The quality of the books are exceptional and the prices (at $3-$4) economical. I found a few newer YA titles to add to my collection (Nic Stone’s Chaos Theory, for example) and some nostalgic adult titles (Lavyrle Spencer, who was a favorite of mine in high school) to add to my collections. When I took my books to the cashier, I noticed she was reading The Count of Monte Cristo and we had a fun chat about reading as I checked out.

Next, I went to Na Mea Hawaiʻi, a Hawaiian culture shop that carries a curation of Hawaiian artisanal merchandise from art, to clothing, to beauty goods, to food items, and finally books that cater to a Hawaiian perspective of place and people. I had a wonderful chat with a salesperson who helped me look over the book selection, and we found a few titles to add to my growing Hawaiian collection. A beautiful independently owned shop, this wasn’t specifically a bookstore, but it had a lovely book section.

Please note: these images were taken from two previous articles written about Bookends: Here & Here

Located the farthest on my quest was BookEnds in Kailua. Independently owned and operated since 1998, BookEnds was voted the Best Neighborhood Bookstore by Honolulu Magazine. It’s a tiny shop filled to the brim with a new-and-used collection, offering a diverse collection of titles. I found a lovely, first US edition, signed copy of Witi Ihimaera’s Whalerider here. Boy, did I feel lucky! (And for kicks, this was the first independent bookstore on the island that supported me as an indie author by stocking my books).

There were a few more places I discovered but haven’t had time to visit in person yet. Skull-Face Books is a new independent bookstore catering to new-and-used books and vinyl, Arts & Letters Nuʻuanu offers native books and art, Logos Books of Hawaiʻi, niched to Christian reading, and BĀS Bookshop is niched to art and design. Additionally, I found there are a plethora of shops that carry books, though not exclusively, and several comics and manga shops on the island. Of all the bookstores I visited, only Da Shop, Na Mea Hawaiʻi and BookEnds specialized in selling new books.

As an average human, who really loves convenience (and whatever taxes my time and wallet the least), I made some observations about the experience of shopping at local, independent  bookstores. 

  • First, as much as I loved walking into these bookstores and enjoying the unique vibe of each, they didn’t always carry what I wanted. This isn’t surprising when the bookstore offers niched merchandise or is more focused on the “used” rather than the new. And of the stores that did carry the “new” books, they didn’t always have a book either. Of course, it’s unrealistic to think that a small, independent bookstore can carry every title. While I could have used the trip as an opportunity to order that special title from the bookstore, the reality that I would have to make a “trek” out to the bookstore again, using time and resources to do it was off-putting. 

  • While digging for buried treasure is fun, I don’t always have the time for it. Sometimes, I just want to walk into the bookstore, find a book I’m looking for, and walk out. Books are already chaotic, so when it’s difficult to find books, it can make the experience overwhelming.

  • Finally, there was very little diversity between traditionally published books over independent titles. Aside from the niche stores, the new-and-used stores adhered strongly to old mainstream offerings of bestsellers being resold. Besides Na Mea Hawaiʻi, which offered new independently published Hawaiian titles, I didn’t see any independent authors offered in the other shops. 

Signing my books at Barnes & Noble, Ala Moana

Here’s an interesting fact for you: I didn't find any of my 11 titles on the shelves in any of my local, independent bookstores. As an independent author, I have contacted most of these bookstores to share that I am a local author, sent flyers with new releases, have offered to send the purchaser some books, and expressed interest in taking part in any author events. Two of these bookstores responded to my queries. One—Village Books—invited me for an author talk and the other—BookEnds—purchased my books for their bookshelves. Interestingly enough, it was my local Barnes & Noble bookstore that reached out to me interested in carrying my titles and invited me for a signing. Granted, this is just one author’s experience, so keep that in mind. And it is important to remember, bookstores are businesses trying to turn a profit, so taking risks on books with no guarantee to move is risky… but that’s an entirely different post.



My Life as an Alien Invader

And all the Oversimplified Gists

Before I met my husband or moved to the Kingdom of Hawai’i, my knowledge about it was rooted in the gifts my grandparents would bring back from their visits: the touristy plastic lei and the “hula” girl doll that rocked back and forth decorated in the grass skirt and coconut bra. I knew it was really far away and that my grandparents had to take an airplane to visit. My young brain understood it by the exotic perpetuation of stereotypes reflected in the media. I remember Magnum PI (the Tom Selleck version), the Brady Bunch visiting Hawaii, and Saved By the Bell: Hawaiian Style, for instance. These stereotypes shaped my understanding about Hawaiʻi. 

The first time I ever visited, technically, I didn’t journey here as a  tourist. Instead, I visited Hawaiʻi as a guest of my boyfriend to stay with his family. Though he took me to see some “touristy” things, I got to experience Hawai’i immersed in the reality of living and working in this place. After getting married to that boyfriend, I moved here, but it didn’t connect that I was moving to a place illegally occupied by the United States. Truthfully, in 1997, I didn’t think much about it at all. I had just married my Hawaiian husband, who I just assumed lived in the fiftieth “state”. It had only been 100 years earlier that Hawaiʻi’s Queen Lilioukalani was held prisoner in her own home and forced to sign a “treaty” which eventually led to Hawaiʻi’s annexation as a US Territory in 1898 and was ratified as a “state” in 1959. 

But this isn’t what we’re taught about Hawaiʻi on the mainland.

The oversimplified gist of those events is that a group of white, American businessmen descended from the white, American missionaries, who settled in the kingdom—in order to protect their business interests—leaned heavily on the queen to sign control of the kingdom over to the American government. When she refused to kowtow to their demands, she was seized and held prisoner in her own home until she signed the “treaty”. There are a ton of books written out there about it by people much more knowledgeable than me [and if you're interested, I would highly recommend starting with Queen Lilioukalani’s journal Hawaiʻi’s Story (1990)].

Unfortunately, there are more people like that 1997 version of me. Many people in the contiguous United States are unaware of the political history of the Kingdom of Hawaiʻi—it’s geographic isolation is just one reason it might not show up in a US history lesson, but let’s be real, that isn’t the only reason. I didn’t learn about it in school. Considering my own education in a rural area of Oregon, I barely learned about the native First Nation people indigenous to my own area (which I now know to be the Klamath, Modoc, and Yahooskin Tribes). My education about nonwhites (and keep in mind this was the late 1970s and 1980s—I graduated from high school in 1992) was filled with what I know now to be unbalanced content that perpetuated all the stereotypes, reinforced white bias, and the heroic propaganda of the Mein Kampf . ..  oops, I mean, US History textbooks: Colonialism? What is that? Like settling the first 13 colonies to get away from religious persecution? Here’s the definition: Colonialism is when a country sends settlers to a place and establishes political and cultural control over it. So those missionaries that turned into land holders that turned into business men pushing their own religious and political agenda onto the indigenous population. Yeah. Colonialism. 

I had this epiphany the other day that colonizers are like invading aliens. Now, please don’t align my use of the word “alien” with the way the United States right-wing has used the term to identify undocumented people trying to seek asylum and better conditions in the US. Not the same thing. My use of the word alien should conjure more of the War of the World sucking up human bodies as fuel connotation. And we love those movies right? Mars Attacks!, The Edge of Tomorrow, Independence Day, A Quiet Place to name a few. Each of these stories offer the premise that the human world is being infiltrated by an extraterrestrial, alien species bent on colonizing the planet (stealing resources, but same difference) and the people rise up and heroically fight against the monsters. 

You see the irony right? 

But know that this isn’t an essay on white guilt, but instead an acknowledgement of the reality of the state of things in Hawaiʻi. Nor is it an essay meant to perpetuate a xenophobic ideology. I wanted to offer a perspective of someone outside that indigenous perspective who IS the alien invader—albeit a welcome one, because there is power in sharing the truth of things. I am not Hawaiian. I’m a guest on this land (ʻāina), and it’s very important that I understand it, just as I hope I would of any place I visit. 

Just as I hope that you, too, would understand Hawaiʻi on a deeper level when you visit.

I’m sorry to say there is no one more entitled than a tourist. On one hand, they’ve spent a lot of money on a “dream vacation” so they want their idealized dream, but on the other, they are occupying someone’s home where that dream isn’t real. A common thing I always hear from tourists is: People should be happy we visit. Tourism creates jobs and puts money in the economy. Okay. Get that, but let’s take a closer look. If you were to just take in the Hawaiʻi Tourism Authority data, you’d think tourism makes Hawaiʻi a boomtown. But just like my oversimplified gist earlier, that’s an oversimplified argument filled with unaccounted for nuance and context.  

Here are some numbers for you:

  • The median income in Hawai’i is around $37,000.

  • The cost of living in Hawaii—in order to make ends meet—is listed at *$70,000 *though other sites have cited “to be happy in Hawai’i,” a household would need to bring in $195,000 (this is more reflective of an income with the ability to contribute to savings and retirement).

  • The median rent is $2,300 

  • The median home price is $810,000 (which with a 20% down means financing $648,000) Do the math. Even making the $70,000 dollars isn’t going to get you a home. 

  • Hawaiʻi’s minimum wage: a whopping $12.00/hour.

  • The average tourism job starts at $12 - $17/ hour. And you know . . . come on, you know… most corporations aren’t hiring workers full-time in order to avoid paying benefits, so people are working double, triple jobs to afford living and health care.

Those abysmal numbers highlight the average means for a resident of Hawaiʻi. While the Hawaiʻi Tourism Authority cites collecting upwards of $2.6 billion dollars in tax revenue, this money doesn’t impact the day-to-day lives of the average person in Hawaiʻi struggling to make ends meet. Then their resources (water, sewage, air quality, sea quality, food costs, housing costs)  are tapped by the massive influx of invaders—the tourist—whose tourism dollars would have to be spent in Hawaiʻi owned business—Hawaiian owned shops, in Hawaiian owned restaurants, in Hawaiian owned boutique hotels, to actually benefit the people with their tourism money—but this isn’t the case. Most tourism dollars are spent supporting the conglomerates (chain hotels, chain restaurants, chain stores) who pay their workers minimum wage.

There’s the argument that assumes someone living in Hawaiʻi can find a job outside of tourism. Except it's a machine which means every family in Hawaiʻi is impacted by this industry. Even if the local population wanted to boycott tourism, they couldn’t. Do you think it’s the dream of those hula dancers to dance at the Hotel Luʻau? Case in point: my oldest child has a college degree and the only position that seems to be open after months of looking for full-time employment is a position at a hotel.

So here’s another oversimplified gist: tourists and non-Hawaiians accessing the land and resources are benefiting the bankroll of the businessmen. And those businesses are protecting their business interests—not aligned with Hawaiian ideals—and leaning heavily on the working-class of local and indigenous people who live here, who benefit very little in the day-to-day of their lives. I know Hawaiians have a lot more to say on this topic and I won’t presume to speak for them, but I know many who have gone so far as to say, “don’t come here without an invitation from someone who lives here.” If you think about it, that’s actually a great practice—that was my first visit to Hawaiʻi, remember? How much more do you appreciate and take care of a place when you visit knowing you’re guests of friends?

A few years ago—pre-2020—my husband and I had the opportunity to travel to Europe on a river cruise down the Danube. One stop in particular sticks out in my mind. It was in a small river village in Austria, and it was clear that the village was reliant on tourist dollars, but also that there was more to the town than what we could see in the six or seven hours of our stop. Most of the tour group—fifty or sixty of us—decided to go to a local winery. We sat in the tasting room and listened to the vintner tell us about his products, then we were given samples of the wine. It was a picturesque location vibrant with local flare. What stood out to me, however, was the way several members of our American group were behaving. They were loud, interrupted the man speaking, laughed loudly (and since there was a language barrier, one might assume they were being laughed at). I was mortified by their behavior, so ashamed.

Having been in Hawaiʻi now for nearly thirty years, I have witnessed this kind of behavior by alien invaders. The trash left on beaches, the entitled attitude about space because “do you know how much I paid for this vacation?”, the lack of regard for the real people taking care of them in service jobs. One time my husband and I took my visiting mother for breakfast on the beach. When we arrived at the restaurant, my husband approached the host podium to get on the list for seating when a tourist looked him up and down, then sneered as she said, “I was here, first,” to which my mother replied, “I think he’s been here longer.” The tourist didn’t get it.

And that is where the problem lies. Invaders and occupiers take. And even in spite of that, Hawaiian culture is all about hospitality and generosity. Nana Veary, Hawaiian spiritualist wrote in Change We Must, My Spiritual Journey (1989) about a lesson she learned as a young girl when her grandmother invited a stranger to come in and dine. She didn’t understand why her grandmother would feed him to which her grandmother replied in ʻōlelo Hawaiʻi, “I want you to remember these words for as long as you live, and never forget them. I was not feeding the man; I was entertaining the spirit of God within him.” 

That gracious hospitality still exists in Hawaiʻi and is inspiring. I would argue that for that generosity to continue, there needs to be a reciprocal nature to the host-tourist relationship. Do you show up at your friend’s house empty handed? Your parent’s house? What about the brand new neighbors to the neighborhood? So here’s some food for thought: As an alien invader… ah hem…I mean as a tourist to Hawaiʻi (or any other place for that matter) what are you giving to the space that you occupy? Are you bringing anything other than your entitlement and your trash? Take some time and learn about the real place, the home, the land you’ll be occupying rather than fetishizing it and snagging the cheap, plastic hula doll you’ll stick to your car dash so you remember lying on Waikiki Beach that one week that one summer. 

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