O'ahu Diary: Days 3 and 4

When I woke up on my second morning in Hawai'i, I looked in the mirror and discovered how closely I could come to resemble little orphan Annie, given a little bit of humidity. Or possibly Harpo Marx.  Or maybe this orchid.


It was a slow day, all in all.  I lounged about on the balcony, gazing at the Pacific and feeling, well, pacific.

As evening wore on, it became clear that the performance space for an expansive luau is just below our windows.  As I read, the music floated up and over me.  After the sun set, I leaned out into the night air and watch fire dancers spin their flambeaux and toss them back and forth.

Some days later, I called my grandmother and told her about the sights to be seen from my private theatre box.

"May I tell you my own balcony story?" she said. "When we were forced to leave Baghdad*, we were staying in a hotel in Tehran, and our balcony looked out on the courtyard where many weddings - Islamic, but also Jewish and Christian - were taking place.  Everyone would make much of the bride and groom, but they were also making much of their guests.  At the end of every wedding, a beautiful car was driven into the courtyard, with every nook and crevice covered in flowers. The bride and groom would get into the car, along with the bride's parents, bid their guests farewell, and drive off.  And that was that."

The next day was D's first day off since arriving.  He's exhausted - the average workday starts between 6 and 7 a.m., and ends sometime between 7 and 9 p.m.  We headed off for some remarkably bland and greasy dim sum at Legend in Honolulu's Chinatown, discovering along the way that it was right next door to the Foster Botanical Garden.  Never ones to refuse a good botanical garden, off we went.

The Foster is the smallest and the oldest of Honolulu's botanical gardens.  Many of the trees were planted by a mid-nineteenth German botanist who had been given the land by Queen Kalama, and upon his departure the garden passed into the possession of Captain and Mrs. Foster.  Mrs. Foster, as it turns out, was the daughter of an English shipbuilder (there are some references to his having been shipwrecked on Hawai'i) and a descendent of Hawaiian royalty.  She was a close friend of Queen Lili'uokalani at a colonial moment when power was being wrested away from native Hawaiian social structures.  The queen herself was deposed and imprisoned. Mrs. Foster, like many of her peers, developed an interest in a particular variety of spiritualism (part Hawaiian mythos, part theosophy) that was at least in part an act of counter-cultural resistance. Eventually she became a practicing Buddhist, bringing a descendant of the Buddha's own bo tree to Hawai'i and planting it in her garden, where it still stands.

I smell the seeds of a brilliant piece of historical fiction. (More on seeds in a moment.)

The garden is looking a bit dilapidated, and traffic rushes too obviously by for it to be the oasis it could be, but it is filled with delightful moments nonetheless.  In Mrs. Foster's day, giant turtles she had been given as gifts by admiring sailors wandered the garden.  Today gangly white birds frolic in the sprinkler system like slippery toddlers:

The age and rarity of many of the trees is the major draw of the gardens.  Every variety of palm imaginable makes an appearance, including the only palm native to Hawai'i (!) and the Talipot palm, which blooms only once in its life before dying.  Quite a swan song.

But for me the real stars were the seeds and the fruit.  The cannonball palm produces masses of (naturally) ammunition-shaped fruit.  D, who had nearly been killed the previous day when a falling palm branch fell from forty feet up and landed a foot away from him, gave the cannonball palm a wide berth. The innards, we were told, contain an odiferous blue goo which attracts peccaries, pigs, and chickens.  Don't touch, the signs warn us.  I can't help but feel that the garden's owners have rather a low opinion of our porcine leanings.

Or consider the earpod plant.  "It has been placed on the endangered list since Apple introduced the iPod," I murmur to D.  The look he gives me says that he is considering joining the birds in a sprinkler frolic rather than listening to any more of my lies.


Some of the seeds are a gift to purple-prosed romance readers.

In that spirit, I give you this gourd-like piece of produce.




But the matriarchy can't be allowed to steal the show, you know.  It requires constant vigilance to ensure that phallocentrism doesn't fade from this earth.

Enter the sausage tree.
I don't think the reasoning behind the naming of this one requires much glossing.  If you remain perplexed, the sign says it all: sausage-like fruit used for external medicine.

You might notice that this sausage fruit looks a bit, I don't know, shriveled and dessicated.  Not to worry: on the tree the fruit is much more, um, turgid in appearance.

I may in fact have turned to D upon viewing the tree and said "You know, they are more like corn dogs than like sausages, strictly speaking."

He gazed stoically off at the butterfly garden.

You can see a few of these corn dogs growing, pendulous, in the picture below.  And, of course, this sight gave me the unique opportunity to cry, "There's a monkey in that sausage tree!".


After the botanical gardens, we set off with but a single goal: get out of Honolulu.  Several hours of aimless but increasingly desperate driving later, we were still tangled in strip malls and endless, tired suburban developments.  Utter exodus fail. After getting out of the car and breathing the ocean air, we turned for home.

Next time we bring a map.  This isn't Nova Scotia, as it turns out.  You can't just follow the ocean and see stunning things around every corner.  (Hear that, Hawai'i?  You're no Canada.  I bet no one's ever lobbed that accusation at you before.)




*Because diplomatic relations were severed in 1967, when my grandparents were serving in the Embassy.

On anarcho-dandyism

If it weren't for the fact that I am currently in Hawai'i, and desirous of not appearing a miserable ingrate, I would be unleashing the following cry right about now: "Why, oh why am I not in London for the Chap Olympiad?".

When D first told me about the Chap Olympiad, images of the Twit-of-the-Year Race instantly sprang to mind.  To be honest, the Twit Olympics, in all their non-brilliance, are never far from the forefront of my thinking:


From there my thoughts naturally drifted (as they always do) to Eddie Izzard's Stoned Olympics.


But no, these were all red herrings along the path to the Chap Olympiad, which is no less quintessentially British, but considerably more sartorially polished.  (OK, Eddie, not more polished than thou.)  Admittedly, Gervaise Brook-Hamster and Oliver St. John-Mollusc might be names you see among the participants.  And it seems to be something of a response to Izzard's call for "a British Olympics, where each and every event is a British event - like the British 100 metres - 'Excuse me, pardon me, excuse me, I think *I* was here first.'"

There's the cucumber-sandwich discus, the human steeplechase, the mustache tug-of-war, Pimm's galore, and some excellent, excellent fashion.   I draw your particular attention to the umbrella jousting, which Strange Games describes thus:  
In keeping with the ideals of Chappism the front of the shield is pasted with the front page of the Financial Times. Players mount their cycles with the shield on one arm, the umbrella held forward in the other and gallantly cycle towards each other and certain injury. Umbrellas can be used in traditional jousting fashion or the hooked handle can be used to try to pull the opponent over.
It calls to mind Got Medieval's recent contemplation of whether jousting is in fact seeing a major resurgence in the twenty-teens.

"We like to call our particular philosophy anarcho-dandyism," says a representative chap," So we're taking the principles of dandyism ... and throwing a bit of an anarchic blend into it."




Next year, god willing and the creek don't rise, I'm there.

Jim the Boy: Close your eyes and step aboard as it passes

The air is warm and thick, a coat you couldn't take off. (55-6)

I finished Tony Earley's acclaimed first novel on the screened porch of my in-everything-but-laws' house in the eighty degree darkness of a Raleigh summer night.  As I read, bare feet kicked up on the wicker arm of the loveseat, a massive chorus of crickets pressed in on me, layers deep.  It was the very quintessence of summer, of indolence, and of the narrow, humid privacy of reading.


And of course, of the long North Carolinian evening.  Earley is a Tar Heel bred, and he cleaves closely to the landscapes of his upbringing.

The town squatted quietly in the sun as if tied to the ground by the web of crisscrossing power lines stretched between the houses. (25)

This is a small town world, a collection of loosely bound lives, drawn delicately toward and away from each other and their home.  The one great journey of the novel is to the South Carolinian coast, and it is filled with a mix of wonder and the urgent desire to be home.  Thomas Wolfe's themes, if not his elaborate prose, loom large.  Everyone drags the past, their home, and their knowledge of the necessities of the future behind them through the smallest daily tasks.

Near the road, a small herd of cows pulled their shadows through a pasture. (224)

Jim the Boy is a slow and careful bildungsroman of Southern childhood, destined to take its place on a thousand high school summer reading lists.  But to describe it in those terms (the coming of age tale, "slow" and "careful," fodder for required reading) belies the effortless grace of the prose, the joys of image that there are to be found on every page, and the vitality of the plot, which builds up complex drama from the simple microcosms that a child observes every day of his life.

 Uncle Al was in the middle of a story whose beginning Jim already knew; Jim closed his eyes and stepped aboard as it passed. (57)

Jim's father died before he was born, victim of a hereditarily weak heart.  He was dramatically alienated from his monstrous father - a patriarch who lives up the mountain from Jim's town.  Jim's mother has refused any contact with her father-in-law, and the boy is raised by her and her collection of brothers, all of whom seem torn between sheltering their nephew and nudging him into independence.  They are suspended between affection and the ethical tug of their responsibility to him - tethered, buoyantly, like the town itself.


Earley was a short story writer first, and, like some of Alice Munro's collections of small town tales and bildungsromane, this work book between the genres of the novel and the short story cycle.  It has that quality that I so often cite as the feature of really brilliant short story form - it is an art of subtlety, rather than boldness, so it leaves you with the cumulative sense of its brilliance, but without a clear sense of how the brilliant effect was achieved. I mentioned before how much I admire the way that Earley depicts the perfect lyricism of childlike contemplation and its free-wheeling, associative thinking:

[...] other questions began pulling into his head like trains into a station.  Only none of the questions had words, only empty places, followed by empty places where answers should have been.  They rushed past him like pieces of fog, things he could see but not grab. (98)

This effect does something extraordinary to the simile, revitalizing it by recalling a time in which I (at least) got lost in contemplation of a detail, and then swung away from it, moving from thought to thought like they were monkey-bars built on a structure of likeness:

The boy cannot hit the baseball to his satisfaction.  Though he makes contact almost every time he swings the bat, he does not strike the mighty blow he sees in his mind.  The ball does not leap scalded into the sky, but hops into the tall grass as if startled by a noise; it buzzes mildly, a dying beetle tied to a piece of thread, and rolls to a disappointing stop. (45)

Obviously I heartily recommend Jim the Boy to you: I have already given it to D, who (contrary to my stern instructions) didn't get a chance to read it while he was still in Raleigh, and so has brought it to Waikiki with us.  I am curious to see how this environment changes the texture of the reading.


But as a last note, I want to say a bit more about that formative journey that Jim takes with his Uncle Al. If I remember correctly, upon setting out, all his uncles will tell him is that they need to see a man about a dog.  There's never a dog, Jim thinks, a bit grumpily.  In fact, they head south in the hopes of buying some horses from a man near the South Carolina border.  For reasons I won't go into, there are no horses for them when they arrive, and Jim is left with the nearly universal North Carolinian feeling that he is glad he doesn't live amidst his neighbors to the south.  In the face of this disappointment, his Uncle Al has a sudden outbreak of impracticality: they will go to the ocean, which neither has ever seen.  How could I help but think of this stunning passage when I am surrounded by Pacific in every direction?

Eventually they drove out of the swamps and plantations and entered a desolate barren in which there was nothing at all to see except pine trees.  When they crossed finally out of the pines, they discovered the wide sea.  Jim's breath caught up in his throat like it was afraid to come out.  He tried to breathe several times, but drew no air.  He wished that just for a moment, until he grew used to the sight, the ocrean would simply hold still.  But the waves lined up and bore down on the wide, white beach like a gang of boys intent on jumping a gully.  Each wave rose and took a running go and rushed toward South Carolina and cast itself down on the sand.  And each wave when it crashed and broke sounded to Jim like the angry breath of God. (66)

This passage is something of a miracle: it recreates a state of innocence that we all must think is lost to us.  (How, I often wonder, do you retrieve the almost religious sense of awe that came with your first sight of snow, or your first experience of flight?)


I got my copy of Jim the Boy through BookMooch, and it makes me want to mount a spirited defense of the joys of reading a used copy, and the aesthetic richness (where many, I know, see bibliophile depravity) of writing in books.  Just after this passage, you see, I found this marginal note from a previous reader:

if only i could feel again 
what it felt like 
to touch the ocean 
for the first time....


And just like that, I knew not only Jim's sense of displaced wonder when confronted by the sublime instability of the ocean's vastness, but the nostalgic loss of my predecessor, and in fact my own.





Jim the Boy
Tony Earley
(2000)
****


(Normally I don't plug like this, but if you click through on the links above to Amazon, you will see that Jim the Boy is on serious sale there for $5.18, at the time of writing.)