David Lansing

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Sex in a pineapple field

This morning there was an attractive middle-aged woman sitting behind a table in the lobby of the Lodge at Koele selling jewelry that she makes. Her name was Susan Hunter. There were only a few people in the lobby and she seemed kind of bored so I went over with my coffee and chatted with her. In addition to selling jewelry a few days a week, she and her husband, Michael, run a B&B on the island oddly named Dreams Come True. She said she and Michael came to Lanai from Sri Lanka almost 25 years ago.

photo by Macduff Everton

photo by Macduff Everton

“Back then, the smell of sweet pineapple was everywhere. When it was in season, it perfumed the air.”

She told the story, which I’d heard before, of how, in the late ‘80s, Dole began to phase out pineapple production because they couldn’t compete with pineapples coming from places like the Philippines.

“By 1994, all the pineapple fields on the island were gone.” Not that she thinks that’s necessarily a bad think. “But it wasn’t all good, either,” she said, echoing Derwin’s comments about plantation life being harsh. Still, Susan thinks Lanai is the last great bastion of the aloha spirit. “The peace and quiet and energy here is extraordinary,” she said as she idly fingered a red coral necklace around her throat. “The town—Lanai City—is tiny. And in five minutes, you can be in the outdoors, snorkeling, hiking, hunting.” She smiled at me and, with a mischievous gleam in her eye added, “And where else in Hawaii can you drive a few miles out of town and make love in the middle of what used to be a pineapple field?”

Well, I can’t honestly answer that. But I must admit it’s got me to thinking.

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The Gift:I

I’m midway through Lewis Hyde’s fascinating book, The Gift. If you haven’t read it, here’s a synopsis from the back cover: “The Gift is a brilliant defense of the value of creativity and its importance in a culture increasingly governed by money and overrun with commodities.”

And from Zadie Smith: “A manifesto of sorts for anyone who makes art and cares for it.”

I don’t know everyone who follows this blog, but I know a lot of you. And I don’t think it’s an exaggeration to say that you’ve all given me some unexpected gift, expecting nothing in return, that has moved me and changed the way I’ve thought about the world. And that gift has stayed with me until a time has come when I’ve had the opportunity to play it forward and hand the gift off to someone else. I’m not talking about physical things here; I’m talking about something much more subtle. A spirit, if you will.

I want to pull a quote out of the book that is from Allen Ginsberg. It sums up how I feel about writing (particularly my own personal style). And it gets to this idea of the creation of art as being a gift that is both received (from god knows where) and then passed on (to those who feel changed from art):

“The parts that embarrass you the most are usually the most interesting poetically, are usually the most naked of all, the rawest, the goofiest, the strangest and most eccentric and at the same time, most representative, most universal…That was something I learned from Jack Kerouac, which was that spontaneous writing could be embarrassing…The cure for that is to write things down which you will not publish and which you won’t show people. To write secretly…so you can actually be free to say anything you want…

“It means abandoning being a poet, abandoning your careerism, abandoning even the idea of writing any poetry, really abandoning, giving up as hopeless—abandoning the possibility of really expressing yourself to the nations of the world. Abandoning the idea of being a prophet with honor and dignity, and abandoning the glory of poetry and just settling down in the muck of your own mind…You really have to make a resolution just to write for yourself…, in the sense of not writing to impress yourself, but just writing what your self is saying.”

 

I don’t think I always accomplish that. Frankly, I seldom accomplish it. But I know when I do. I know what Ginsberg is saying. And this forum allows me to try harder to write “so you can actually be free to say anything you want,” which, as he says, is always the most interesting and the most universal of writing.

So that’s my gift to those who read me: to be as honest as I can in my writing to give you a universal sense of the world and a lens for trying to understand it.

And here’s the gift I would like in return: If you feel that an observation I make informs you or a description entertains you, pass it on. Send an e-mail to five friends you think might also get something out of it. Play it forward. And let’s see how long it takes to circle the world and get back to me. 

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Suzie’s bichon frisés and slippahs

The Blue Ginger, a simple one-room café where customers help themselves to the coffee brewing on a side table, is jammed this morning. In the back I spot Derwin at a table with a couple of older guys and a woman about his age. He puts a hand up and beckons me over, introducing me to the old guys and the woman who turns out to be his sister, Nani.

Blue Ginger photo by David Lansing

Blue Ginger photo by David Lansing

 

“Dis guy want to hear stories of old Lanai,” Derwin tells his sister. “Maybe you talk story.”

Nani laughs and says she’s been trying to hear those stories herself for a good number of years. Before they’re all forgotten. She says that she was one of those kids that got off the island the minute she graduated from high school. “And I swore I’d never come back, but then my kapuna auntie said, ‘It’s time.’ And when I came back, she started telling me the old stories. But the she died. And I’ve been asking all the old aunties on the island for those stories ever since.”

While Nani and I talked story, Darwin and some of the older guys talked quietly about more pressing issues. Like the free upcoming community lunch, for seniors, later in the day in Dole Park. Derwin told the men they still needed a baker, a butcher, and yes, a candlestick maker.

After breakfast, I walked around Lanai City. There’s not much to it. You walk down one side of Dole Park, shaded by the ubiquitous Cook Island pines, past a bank, two small grocery stores, two cafes—including Café 565 which, in addition to serving their special Korean and katsu chicken daily, according to a sign, also has holiday pupuus—and the world famous Lanai jail, which is really just a modified shipping container with a locked door on it that hasn’t been opened in this century.

I wandered in to the Dis ‘n’ Dat store, mostly because they had this terrific tin hula girl, decorated in Christmas lights, stuck to a palm tree outside the store. Sitting in a green wicker chair on the porch was a middle-aged woman with red glasses and a big floppy hat playing the ukulele. At her feet were two bichon frisés, curly white-haired lap dogs that were so quiet and perfectly groomed that I thought at first they were stuffed animals.

Dis 'n' Dat Shop photo by Macduff Everton

Dis ‘n’ Dat Shop photo by Macduff Everton

The woman playing the ukulele was Suzie Osman. She and her husband, Barry, own Dis ‘n’ Dat. They are originally from New York (and still have very heavy New Yorker accents) where they used to own a toy business (“I’ve always liked sparkly, happy stuff,” Barry said).

Suzie told me she was just messing around on the ukulele. “I taught myself to play it when we moved here nine years ago,” she said. Then she gave me a big smile and said, “I also do the hula.”

Barry said the store has been here since 1961 and it’s always been called Dis ‘n’ Dat even when it was the post office. “I was going to call it something different,” Barry said, “but the locals told me it would be bad luck to change the name. Besides, everyone in town likes the sign. So we just left it the way it was.”

I had a hard time walking around the shop. There are like a million wind chimes hanging from the ceiling and you have to be a midget or something not to get smacked in the forehead all the time (Suzie and Barry are almost as squat as their two bichons). Suzie designs some of the jewelry in the store, including these Hawaiian slippah pendants, which are very cool. There are pink slippahs and slippahs with hibiscus on them and even slippahs in an American flag motif. I liked all of them—the keychains and necklaces, earring and bracelets. So I bought like a dozen of them. I have no idea who I’m going to give them to. Maybe I’ll keep them for myself. And start a collection. Of Hawaiian slippah jewelry. 

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Shipwreck beach and the mad dog

It’s late in the day and I’m sick and tired of going down dead-end roads and hiking through prickly scrub over treacherous volcanic rock looking for petroglyphs, but Macduff is adamant we keep looking. So we bump and grind our way along the island’s northeast coast until the road (if you can call it that) ends at an old fisherman’s hut where a faded sign in front of a palm-frond fence says DANGER: Be-Aware of the Visayan Mad Dog.”

photos by David Lansing

photos by David Lansing

“There’s your Hawaiian culture right there,” Macduff says, pointing at the sign.

I have no idea what a Visayan mad dog is (is that a breed?) but no matter; we ignore the sign and pass by the falling-down shack. Tradewinds, roaring down the Kolohi channel between here and Molokai, howl like goblins along the beach. A spindly tree, stripped of all vegetation, leans like a drunk away from the ocean. Waves roll across a rusty WWII-era Liberty ship wrecked on the reef just off-shore (and hence, I suppose, the reason for why this area is called Shipwreck Beach). A trail leads up a bumpy hill through scrubby gullies pockmarked with large volcanic rocks. Somewhere up here, supposedly, are petroglyphs.

Macduff and I trudge through prickly vegetation in flip-flops for half an hour in the diminishing light as the wind slams us around, searching for the elusive ancient markings but find only bleached animal bones (cattle? deer? dog?), scurrying geckos, and a nervous chukar or two which, when startled, run through the bush like children hiding from bogeymen.

Our search for petroglyphs is fruitless. As darkness falls, we hurry down the hill and past the home of the Visayan mad dog. In the twilight, we bounce like pinballs in the Jeep down the washed-out road, headed for the comfort of the Lodge and a different sort of Shipwreck—this one drinkable.

I may have two this evening. My idea of Hawaiian culture. 

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Searching for Hawaiian culture

God help us, we’re back to driving on roads marked NOT ACCESSIBLE on the map Shantell gave us at the rental car agency. This is our third day searching for Hawaiian petroglyphs, which we’ve yet to find.

“Why do you want to shoot petroglyphs anyway?” I ask Macduff. “They’re just ancient graffiti left by a bored teenager tired of hunting for wild pigs.”

“Culture!” shouts Macduff. “I thought we were searching for Hawaiian culture.”

A front wheel sinks into a gully in the road and the bottom of the Jeep scrapes something hard. There’s a thack! as something flies up and strikes the undercarriage, all of which Macduff ignores.

“Not that sort of culture,” I say.

“Then what?”

“I don’t know. The old time-y Hawaiian stuff. Pineapples and authentic hula, that sort of thing.”

  

“Authentic hula? Hah! That’s your idea of Hawaiian culture?”

“You know what I mean.”

“Haven’t a clue.”

Actually, I haven’t a clue either. When I decided to come to Lanai, the smallest of Hawaii’s inhabited islands, to search for Polynesian culture, I was thinking about Hawaii the way it supposedly was fifty years ago, when, on their honeymoon, my parents, Tom and Joan, took the SS Lurline from Los Angeles to Honolulu and spent a glorious week at the Royal Hawaiian on Waikiki, the “Pink Palace of the Pacific.” I was thinking about the stories my parents told me as a child of “old Hawaii”—the sacred chants, story-telling dances, the odd tales of fire gods and shark kings—before it became the 50th state in 1959 and the stylish Matson Line cruise, which my parents took, was replaced by middle–class throngs flying over on Pam-Am and TWA.

It reminds me of how every year, on their anniversary, my mom would bake a pineapple upside-down cake, just like they had at the Royal Hawaiian, and my dad would put on an album of old slack key guitar music and make a batch of pina coladas, and when they were looped enough, my mom would giggle her way through the hula before collapsing on my dad’s lap. That, to me, as a kid growing up in Southern California, was what Hawaiian culture was all about.

But, of course, that’s crazy. Like saying French culture is madeleine cookies and Maurice Chevalier crooning “Thank ‘eaven for lit-el girls.” Or Vegas culture is Liberace in a rhinestone-studded sequin suit and a fake pirate ship shooting off a canon in a wading-pool-deep lagoon. Okay, maybe that is Vegas culture, but certainly there has to be more to Hawaii than petroglyphs and pineapples, right?

But what?

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