Aloha Hawai’i

Greetings future Emma-addicts

(We hope once the book is out and you read it, we will have Emma-addicts who are clamoring for more adventures of Emma Elizabeth Jones, a request that we are happy to oblige.)

A recurring theme in Outsourcing Murder and the other mysteries in the series is the aura of Hawai’i. Emma, our protagonist, is a born and bred Midwesterner (like us), who spent her teen years in the Bay Area and is a University of Hawai’i graduate. Her off-again-on-again ‘ipo (sweetheart), Keoni, who is almost full-blooded Hawaiian, still lives in Hawai’i. Emma surfs regularly, listens to Hawaiian music, and even speaks Hawaiian, which she deemed an easier language to learn than the Greek and Latin her father, the Classics professor, tried to teach her. One of us has direct and painful experience with the dreaded Greek aorist infinitive and agrees that Emma made “a wise linguistic choice.” Besides, there is more cool Hawaiian music than cool Homeric Greek music. (Although it might be interesting to hear the Iliad done as rap music. Yo, Achilles!)

Emma’s interest in nā mea Hawai’i – Hawaiian things – mirrors our own and encompasses the native Hawaiian culture through its evolution as cultures of immigrants to the islands blended into the beautiful rainbow culture that is present-day Hawai’i. We are almost genetically programmed to be Hawai’i-philes. One of us was conceived there (courtesy of the Air Force posting of our reservist father) and we grew up listening to Hawaiian music including some of the old timers like the Kalima Brothers (“1000 pounds of melody”) and Alfred Apaka. (We also heard a lot of opera, provoking images of a grass-skirt clad tenor singing “La Boheme.”) The Davidson kids’ all-time favorite song was the “Hawaiian War Chant,” which we – or rather, our brother, who is convenient to blame for bad stuff since it was his fault most of the time – used to play at an unspeakable hour of the morning while we raced around the house whooping like nā mea pupule (crazy people). (Our mom and dad really don’t like the “Hawaiian War Chant.” They like it even less at five in the morning. Or six.)

Hawaiian music has evolved from classic Hawaiian and hapa-haole (English language with a smattering of Hawaiian) music through the Hawaiian Renaissance of the 1970s (Brothers Cazimero, Sunday Manoa, Keola Beamer) into contemporary Hawaiian music, all of which we enjoy. (Okay, we’re lying. ”Jawaiian” – Jamaican and Hawaiian music fusion – is the auditory equivalent of feasting on ganga (“weed”) flavored haupia (coconut pudding). Eew.) One of us has gone so far as to learn Hawaiian so she can a) understand Hawaiian music and b) make insightful comments regarding the daily commute like, “he pua’a pupuka nui e kalaiwa ana mai i kela ka’a” (“a big ugly pig is driving that car”). We both note that this is a highly useful phrase on California Highway 101 and the DC beltway, we have, unfortunately, had occasion to know. I’ll bet some of you have, too.

We’ve infused Emma with our taste in music. She has met and has the CDs of Maunalua, and ‘Ike Pono, and also enjoys Hapa and Mānoa DNA. Boyfriend Keoni plays Hawaiian music in a group (Hopena), well enough for some music gigs at the Mai Tai Bar at the Royal Hawaiian, where we’ve spent many evenings enjoying drinks with lots of dark rum and a umbrella garnish. In our next book, Keoni substitutes for one of the members of ‘Ike Pono. (Stan, we are sorry, but we are sending you to the mainland for a reason we haven’t thought of yet – you’ll have a great time, we promise. Keoni doesn’t play ‘ukulele nearly as well as you do, just well enough to “sub” for Dramatic Purposes.)

Not only Hawaiian language and music but also other aspects of Hawaiian culture (food!) are an important part of our writing, and our onsite research, such as eating malasadas. These Portuguese fried donuts with ‘ono (delicious) fillings are the absolute best empty calories either of us can name. (If there is a Hawaiian word for “Mecca” it would be “Leonard’s Malasadas.”) Besides, if the filling is lilikoi (passion fruit), it‘s a fruit, right? Another important contribution to Hawaiian food culture, in our humble opinion, is the manapua (the name of which is a contraction of mea ‘ono a nā pua’a – “delicious pig thing”). This steamed dumpling filled with sweet barbecued pork is reminiscent of a Chinese char siu bao. An unfortunate side effect of enjoying manapua and malasada is an an ‘opu nui (big belly). (Despite our surname, we never considered writing Emma as a Norge-phile. Lutefisk, anyone?)

Needless to say, there is much more to Hawaiian culture than tiki bar umbrella drinks (part of Hawaiian tourist culture) and fat pills. As often as we’ve been to Hawai’i, we are always learning something new, which means The Next Trip is always market research that we hope will benefit and expand our writing. For example, did you know that there is a type of Hawaiian combat known as lua? And the Hawaiians had really cool weapons, like our favorite, lei o mano, which you can think of as a big ol’ club studded with shark teeth. (Guaranteed to scare off the next Jehovah’s Witness or Girl Scout Cookie Pusher who darkens your door. Oh, and it might work on the pua’a pupuka nui’s tire, too. Hmmm, one of us might try that on an annoying neighbor who keeps parking right across from her driveway even though it’s a no parking area. Strictly in the interests of “market research on the effect of sharks’ teeth on tires,” you understand.)

It’s not too early to wish our readers – no, not “happy holidays,” as we don’t do generic greetings – “Mele Kalikimaka a Hau’oli Makahiki Hou” which is, literally, “Merry Christmas and Happy New Year.” And, “hau’oli heluhelu ‘ana” – happy reading!

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