In this lively satire of contemporary South Pacific life, we meet a familiar cast of characters: multinational experts, religious fanatics, con men, "simple" villagers, corrupt politicians. In writing about this tiny world of flawed personalities, Hau‘ofa displays his wit and range of comic resource, amply exercising what one reviewer called his “gift of seeing absurdity clearly."

In the best Rabelaisian tradition, this brilliant satire weaves a tale of improbabilities around the seat of the last great taboo. Oilei Bomboki wakes one morning with an excruciating pain that sends him anxiously searching for a cure. Unsuccessful treatments at the hands of various healers and doctors, culminating in a bizarre operation, lead the desperate Oilei to seek the help of Babu Vivekanand--sage, yogi, and conman. Through Babu's teachings, Oilei learns to love and respect the source of his own complaint. By turns savage and absurdly comic, this brilliant satire allows Hau'ofa to comment on aspects of life in a small Pacific community perched precariously between traditional and modern ways.

"While examining colonial culture in its many manifestations, from art, literature, and film to the journals of explorers and missionaries, O'Brien rereads not only the canonical texts of Pacific imperialism, but also lesser-known remnants of this cultural heritage with an eye to what they reveal about gender, sexuality, race, and femininity. Over its long history - from the famous (and much romanticized) settlement of Tahitian women and mutineers from the Bounty on Pitcairn Island in 1789 to the South Seas romantic tradition, Gauguin, and beach culture - notions of female primitivism changed in response to the ideological watersheds of Christianity, Enlightenment science, and race theories, as well as the development of democratic nation-states, modernity, and colonialism.

We Are the Ocean is a collection of essays, fiction, and poetry by Epeli Hau‘ofa, whose writing over the past three decades has consistently challenged prevailing notions about Oceania and prescriptions for its development. He highlights major problems confronted by the region and suggests alternative perspectives and ways in which its people might reorganize to relate effectively to the changing world. Hau‘ofa’s essays criss-cross Oceania, creating a navigator’s star chart of discussion and debate. Spurning the arcana of the intellectual establishments where he was schooled, Hau‘ofa has crafted a distinctive—often lyrical, at times angry—voice that speaks directly to the people of the region and the general reader. He conveys his thoughts from diverse standpoints: university-based analyst, essayist, satirist and humorist, and practical catalyst for creativity. According to Hau‘ofa, only through creative originality in all fields of endeavor can the people of Oceania hope to strengthen their capacity to engage the forces of globalization. “Our Sea of Islands,” “The Ocean in Us,” “Pasts to Remember,” and “Our Place Within,” all of which are included in this collection, outline some of Hau‘ofa’s ideas for the emergence of a stronger and freer Oceania. Throughout he expresses his concern with the environment and suggests that the most important role that the “people of the sea” can assume is as custodians of the Pacific, the vast area of the world’s largest body of water.

The only child of the last chief of Makawana village, Maiba struggles to hold her people together in face of the polarizing forces of convention and modernization. Both protective and painfully aware of the weaknesses of her own community, Maiba acquires the wisdom she needs to face the future.

Elegant, brutal, and profound—this 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.