Keu a ka ‘ono, ma ke alopiko la Oh how delicious is the belly
Kahi momona piko ka nenue la Sweet and succulent nenue fish
Lihaliha wale ke momoni aku la Rich, tasty to swallow
‘O ka ‘ō‘io halalē ke kai la The ‘ō‘io fish swims in gravy, slurp it up
‘O ka ‘ōpelu e pepenu ana la Dip into the delicious ‘ōpelu fish
He ‘ono toumi tou ho‘i tau i tou Delicious, delicious, oh so sweet to swallow
pu‘u te momoni atu slides down your throat
He ‘ono a he ‘ono a he ‘ono ‘i‘o nō, Delicious, delicious, oh so tasty indeed.
a he ‘ono nō.
— “He ‘Ono” (Bina Mossman, composer)
Think of this course as a literary luau, a buffet of choices from around Moananui (Oceania, the Pacific) to fit (almost) every appetite. The “brain food” at this party covers the breadth of Oceania, a pupu platter of “Pacific Regional Literary Cuisine” representing diverse islands, cultures, and peoples that draw from the growing pool of talented Maoli/Māori/Māʻohi, etc. (Indigenous Pasifika) writers. We will explore aspects of literature such as themes, aesthetics, and techniques utilized in these texts as they are shaped by their respective social, political, and historical settings. As such, issues such as the intersection of oral traditions and contemporary literature, and the use of pidgins and native languages will also be addressed. Other key issues include the cultural politics of identity, as the new Indigenous writing from the Pacific serves both to challenge earlier representations by outsiders, and also highlights emerging discourses of gender and self-determination in the region today.
We will also play literary food critic through learning how to discuss and analyze Pacific literature in terms important to western and Indigenous Pacific modes of literary analysis and definition: What is orature? What is literature? What are mo‘olelo and mele, fagogo and waiata? How do they function in Pacific societies? How are their aesthetics determined? How do we evaluate, as primarily western-trained readers, the value of Indigenous writers and writing to the cultures they represent? To the greater Pacific? As part of world literature?
Course requirements: Two short essays or equivalent (5-6 pages or 4,000-4,500 words each); lead a class discussion on a reading; a creative or research project and presentation; a midterm and final exam; class participation through regular class discussion, assignments, and attendance; an “experience art” by attending at least one course-related event during the semester, such as a poetry reading or play, and writing a reaction/review.
Possible texts (available digitally on Kindle):
- hoʻomanawanui, kuʻualoha, Pualani Warren, and Cristina Bacchilega, eds. An Ocean of Wonder: The Fantastic in the Pacific (UH Press, 2024).
- Spitz, Chantal. Island of Shattered Dreams.
- Other readings and handouts will be posted on the class website.
Course SLOs: Improve ability to critically read, analyze, and interpret complex literary texts, using relevant literary and cultural terminology; augment knowledge of how literature is organized by historical periods, genres, cultures, and cultural formations; improve ability to express ideas by organizing, developing and supporting a description, analysis, or argument in written formats, within the conventions of academic writing; develop an understanding of Indigenous Pacific literature as a unique and distinct field, and its connection to other literatures; develop basic knowledge of key terms and issues important to the study of Pacific literature.