This Is Paradise

Stories

About the Book

Elegant, brutal, and profoundthis magnificent debut captures the grit and glory of modern Hawai'i with breathtaking force and accuracy.
 
In a stunning collection that announces the arrival of an incredible talent, Kristiana Kahakauwila travels the islands of Hawai'i, making the fabled place her own. Exploring the deep tensions between local and tourist, tradition and expectation, façade and authentic self, This Is Paradise provides an unforgettable portrait of life as it’s truly being lived on Maui, Oahu, Kaua'i and the Big Island.

In the gut-punch of “Wanle,” a beautiful and tough young woman wants nothing more than to follow in her father’s footsteps as a legendary cockfighter. With striking versatility, the title story employs a chorus of voices—the women of Waikiki—to tell the tale of a young tourist drawn to the darker side of the city’s nightlife. “The Old Paniolo Way” limns the difficult nature of legacy and inheritance when a patriarch tries to settle the affairs of his farm before his death.

Exquisitely written and bursting with sharply observed detail, Kahakauwila’s stories remind us of the powerful desire to belong, to put down roots, and to have a place to call home.
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Praise for This Is Paradise

“Vividly imagined, beautifully written, at times almost unbearably suspenseful—the stories in Kristiana Kahakauwila’s debut collection, This Is Paradise, are boldly inventive in their exploration of the tenuous nature of human relations. These are poignant stories of ‘paradise’—Hawai'i—with all that ‘paradise’ entails of the transience of sensuous beauty.”—Joyce Carol Oates

This is Paradise gives us a raw view of local color in all of its perplexities and pleasures. . . . [The stories] give us a picture of island life quite disturbing at the heart of thingsthe other side of paradise.”—Alan Cheuse, All Things Considered

“Gritty, haunting, and suspenseful. This is Paradise navigates an ocean of tension between tourists and islanders in paradisiacal, paradoxical Hawai'i.”O, The Oprah Magazine

“[A] sparkling debut story collection. . . . A writer with one foot in the native Hawaiian community and the other in the mainland mainstream gives us an edgy, unmistakably authentic glimpse of the harder side of island life.”ELLE

“Excellent . . . Accomplished. This Is Paradise [is] a collection from gifted newcomer Kristiana Kahakauwila.”—The Wall Street Journal

“Filled with an energy and outrage reminiscent of Jamaica Kincaid.”Publishers Weekly

“One can almost smell the tropics emanating from each page, thanks to Kahakauwila’s startling and vivid imagery. With prose like a riptide, This Is Paradise is the perfect way to mentally transport you to Hawai'i from the comfort of home.”BookPage

“Reminiscent of Lois-Ann Yamanaka’s similarly gritty, no-holds-barred view of life in Hawaii, she is a fresh new voice to be watched.”Library Journal

“Finely wrought work from an impressive new talent. Tourists don’t see the Hawai'i unsparingly yet lyrically depicted in Kahakauwila’s debut collection.”Kirkus Reviews

“Cogent explorations of regret, remorse, ambition, and ambivalence can take place anywhere on earth, but in a land known for its beguiling enchantment, such fatalism takes on a forbidding, even sinister, mien as Kahakauwila deconstructs the aloha myth.”Booklist

“[Kristiana Kahakauwila] protagonists are as richly distinctive as the pidgin they speak, and yet each struggles profoundly with identity—that negotiation between ourselves and the world, which is at once Hawaiian, American, universally and compellingly human.”—Peter Ho Davies

“In these lively, accomplished stories, Kristiana Kahakauwila paints a vivid portrait of modern Hawai'i—not the gauzy ideal of tourist vacations, but the messy, fascinating reality of its inhabitants. This is a impressive debut by a writer to watch.”—Alix Ohlin

“Glowing with life, peril, and beautifully scaled human drama, This Is Paradise is full of people you'll never forget, and will never want to.”—Michael Byers
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Excerpt

This Is Paradise

This Is Paradise

Midmorning the lifeguards fan across the beach and push signposts into the sand. The same picture is on all of them: a stick figure, its arms aloft, its circle head drowning in a set of triangle waves. CAUTION, the signs read. DANGEROUS UNDERTOW.

We ignore it. We've gone out at Makaha and Makapu'u before. We've felt Yokes pull us under. We are not afraid of the beaches and breaks here in Waikiki. We are careless, in fact, brazen. So when we see her studying the warning, chewing the right side of her lip, we laugh. Jus' like da kine, scared of da water. Haoles, yeah.

The tourist girl is white. They're all white to us unless they're black. She has light brown hair, a pointed nose, eyebrows neatly plucked into a firm line. She wears a white bikini with red polka dots. Triangle-cut top, ruffled bottom. We shake our heads at her. Our 'ehu hair, pulled into ponytails, bounces against our necks. Our bikinis are carefully cut pieces with cross-back straps and lean bottoms. We surf in these, sista. We don't have time for ruffles and ruching. But she does, like every other tourist. Her blue-and-white-striped hotel towel labels her for what she is.

So why do we look at her as we pass? Why do we notice her out of the hundreds of others? Do we already know she's marked, special in some way?

At the high tide line Cora Jones and Kaila Ka'awa pull on rashguards to protect against the trade winds, which are wailing this morning. The rest of us pretend we don't have chicken skin. We strap our leashes to our ankles, careful to piece the Velcro together, and then we jump on our boards and feel them skim across the surface of the water. Arching our backs, our hips pressed into hard fiberglass, we dig the water with our hands. We raise one foot for balance, and because we know we are silhouetted against the horizon, we hold our heads high, we point our toes. Our bodies curve upward, like smiles, beckoning those on shore to follow.

When we look back, the tourist girl is approaching the ocean's edge. She walks into the water, the small waves lapping at her feet, ankles, knees, chest. We see her dip her shoulders into the whitewash. We don't tell her to stay away from the retaining wall in front of Baby Queens or that today the current is moving from 'Ewa to Diamond Head. We paddle, and in a moment, we've left her behind.

Only local folks leave us money, placing it on top of the television in an envelope with the word "Housekeeping" printed across the front. We split the cash, tucking it into our shoes where management won't look for it.

We, the women of Housekeeping, get left other things, too, but by accident. The Japanese leave behind useful items: tubes of sunscreen, beach floaties, snorkel gear, unopened boxes of cereal, half-filled bottles of American whiskey, brand-new packets of travel tissues decorated with Choco-Cat and Hello Kitty, which our youngest girls love. The tissues we take. Even when management checks the pockets of our uniforms, they never think to confiscate packets of tissues. We don't get in trouble for bringing those home. The rest we throw into trash bags or hide on the bottom shelf of our carts to leave at the loading dock for night security. Management doesn't check their pockets.

What mainland Americans leave behind makes us blush: used condoms under the bed, a turquoise bra with thick cups like soup bowls, pornographic magazines. We find a single blue sandal, a hairbrush tangled with yellow hair, a vibrating toothbrush, a stuffed bear with a missing arm and glass eyes. Such intimate pieces to forget.

Today we have been cleaning rooms for five hours, since six in the morning. Tucking the bottom sheets at least eight times, disinfecting the sinks and bathtubs, vacuuming the dark brown carpets. We have cleaned twelve rooms and have eight more to go. We pause in the hallway. We don't have time to rest, but we do anyway, just for a moment. The door to room 254 is open, and we watch a young woman tie a white wrap around her waist. Her polka-dot bathing suit is damp and turns the white fabric sheer, the red dots shining through like mosquito bites. She catches us watching her. "You don't need to replace the towels," she says, smiling. "Conserve water." Her teeth are coins, flat and shiny. We want to tell her to wear a thicker skirt, but it's not our place to speak to guests.

A young man appears from behind the wall and walks around the foot of the bed: "I already left mine on the floor."

The girl rolls her eyes. "Then pick it up," she scolds. She turns to give us an exasperated smile, and we are reminded of our eldest daughters: impatient with nonsense, bossing their brothers, keeping the house. This girl, like our girls, is the type a mother can depend on to do things: drive Grandmother to a doctor's appointment, cook breakfast for Papa, dress and feed the babies before school. We smile back at her. We feel as if we can trust her.

The young man finally emerges from the bedroom--shoelaces untied, hat pulled low over his eyes--and she smacks him lightly on the arm. "You take longer than a girl," she says. She laughs, a light, tinkling giggle. He laughs. They look at us, so we laugh. At the end of the hall, she turns and waves at us. We nod, small smiles tightening our lips, and then we enter the room to make the beds.

We think of her for the rest of our shift, chuckling at her bossiness and cheer. When we return our carts, the manager doesn't bother to check our pockets, which makes this a good day, and we decide the American girl has brought us luck.

The hotel is strict about a great number of our activities. They have rules on how to store the carts, what time to punch in, what time to punch out, how to answer the phone (always start with "Aloha"), how to arrange the pillows on the bed, how to report suspicious activity. The last rule was created to fight terrorism, though we wonder what kind of terrorists would stay in Waikiki. In fact, we don't entirely understand this rule or trust it. It seems designed only to make trouble for us. We've heard stories, after all, stories about workers like us who tried to obey the rule. Stories like the one about Janora Cabrera, who saw a man pressing a woman against a wall and reaching up her skirt on the penthouse floor. Janora told her shift manager about what she had seen. The shift manager reported it to the night auditor, who deferred to the daytime manager. Together, they reprimanded Janora. "You are only to report suspicious behavior," they told her. "You are not to involve yourself with our guests' lives."

Our shift ends at two in the afternoon, and we exit the hotel from the basement, a hot tunnel that smells of dryer sheets. This is where the housekeeping office is located and where we are kept, tucked away from the visitors who wander in and out of the front lobby. From here we cannot hear their sandals clap against the polished marble floors nor see their eyes widen as they first glimpse the Pacific through the glass windows of the lanai. We exit onto a sidewalk spotted with old gum stains and the faint red splatter of a spilled shave ice.

At the bus stop, waiting to go home, we laugh with one another. We talk of our husbands and our children. How fast they grow, our little ones, how quickly they move through school, through friends, through clothes. Already the youngest speak more English than we do, and the eldest make plans to go to college. We're proud of them, scared for them. We want them to go. We want them to stay in the house to help us. We even want, in some small part of our hearts, to send them back home to Pohnpei or Yap or Kosrae so they can really learn what it means to be one of us. Already they are American.

On the ride home, our shoulders ache and our shoes feel tight around our swollen feet. We close our eyes and let the bus's air-conditioning wash over us like a wave.

We tap the gas pedal, then hit the brakes again. Our cars lurch to a stop. Our heels and briefcases slide across the passenger seat, and one shoe drops to the floor with a hollow thunk. As successful career women we left work feeling powerful, but the traffic at Kapi'olani and Kalakaua has ended that. We might be the ones chosen to mold our islands' future, but we're stuck like everyone else, our cars moving at the speed of poi.

We stare into the four-story convention center, its glass walls lending the impression of a squared fishbowl. A dental convention is in town, and we watch as a cluster of attendees crowd the escalator. On the ground floor they shake hands and exchange business cards. One of them reaches into his plastic goody-bag to show off a collection of maps, pamphlets, and lastly some travel toothbrushes, which causes riotous laughter among the group. We are not privy to the joke, but our mouths are sticky from nine hours at the office. We could use those toothbrushes right now.

We could also use massages and an end to this traffic. Esther Lu could use a glass of wine, which she would sip on the couch when she finally reaches her condo. Laura Tavares would like two hours of television, preferably the Food Channel. The rest of us want a personal chef. Lacking one, we'll probably call our parents and see what they're having for dinner, which we do on more evenings than we'd care to admit. One more benefit of returning home to the islands.

About the Author

Kristiana Kahakauwila
KRISTIANA KAHAKAUWILA, a native Hawaiian, was raised in Southern California. She earned a master's in fine arts from the University of Michigan and a bachelor's degree in comparative literature from Princeton University. She has worked as a writer and editor for Wine Spectator, Cigar Aficionado, and Highlights for Children magazines. She taught English at Chaminade University in Honolulu and is now an assistant professor of creative writing at Western Washington University. More by Kristiana Kahakauwila
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