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Take an intimate experience into the beauty and spirit of Aloha in a story of poetry and photos from the island of Kauai. This is a collection of island-inspired lyrical verses of creativity and images of nature. A pure joy and inspiration to share with all of you. Aloha and a hui hou (till we meet again) Stephen
This book of "documentary poetics" is by an important up and coming female experimentalist.
From the Pulitzer Prize-winning author and “one of the greatest poets of our age … the Thoreau of our era” (Edward Hirsch) comes a thrilling story, in verse, of nineteenth-century Hawaii. Here is the story of an attempt by the government to seize and constrain possible victims of leprosy and the determination of one small family not to be taken. A tale of the perils and glories of their flight into the wilds of the island of Kauai, pursued by a gunboat full of soldiers. A brilliant capturing—inspired by the poet's respect for the people of these islands—of their life, their history, the gods and goddesses of their mythic past. A somber revelation of the wrecking of their culture through the exploitative incursions of Europeans and Americans. An epic narrative that enthralls with the grandeur of its language and of its vision.
Recovering Kānaka Maoli (Native Hawaiian) relationality and belonging in the land, memory, and body of Native Hawai’i Hawaiian “aloha ʻāina” is often described in Western political terms—nationalism, nationhood, even patriotism. In Remembering Our Intimacies, Jamaica Heolimeleikalani Osorio centers in on the personal and embodied articulations of aloha ʻāina to detangle it from the effects of colonialism and occupation. Working at the intersections of Hawaiian knowledge, Indigenous queer theory, and Indigenous feminisms, Remembering Our Intimacies seeks to recuperate Native Hawaiian concepts and ethics around relationality, desire, and belonging firmly grounded in the land, memory, and the body of Native Hawai’i. Remembering Our Intimacies argues for the methodology of (re)membering Indigenous forms of intimacies. It does so through the metaphor of a ‘upena—a net of intimacies that incorporates the variety of relationships that exist for Kānaka Maoli. It uses a close reading of the moʻolelo (history and literature) of Hiʻiakaikapoliopele to provide context and interpretation of Hawaiian intimacy and desire by describing its significance in Kānaka Maoli epistemology and why this matters profoundly for Hawaiian (and other Indigenous) futures. Offering a new approach to understanding one of Native Hawaiians’ most significant values, Remembering Our Intimacies reveals the relationships between the policing of Indigenous bodies, intimacies, and desires; the disembodiment of Indigenous modes of governance; and the ongoing and ensuing displacement of Indigenous people.
Welcome back to Maui for this romantic drama about family, forgiveness, and what it means to build a future with the people who mean the most. The Last Aloha continues the binge-worthy saga of the Briscoe family. Ava and her children maneuver more changes as they run the pineapple plantation known as Pali Maui amid a myriad of complications. A surprise wedding…a renovation of the golf course fraught with issues, including a formidable lender who causes trouble…a loved one facing a serious illness. All this forces the Briscoes to reevaluate priorities and cling to what is truly important…family. Yet, these struggles pale against the impact of a coming storm with consequences none of them see coming.
Mauri Ola: Contemporary Polynesian Poems in English is a follow-up volume to the highly acclaimed Whetu Moana, the first anthology of Polynesian poems in English edited by Polynesians. The new book includes poetry written over the last 25 years by more than 80 writers from Aotearoa, Hawai'i, Tonga, Samoa, the Cook Islands, Niue, Tokelau, Tahiti and Rotuma &– some living in these islands and some dispersed around the globe. Together with works by established and celebrated poets, the editors have introduced the fresh voices of a younger generation. The anthology includes selections from poets including Alistair Te Ariki Campbell, Sia Figiel, J. C. Sturm, Konai Helu Thaman, Haunani-Kay Trask, Hone Tuwhare and Albert Wendt. The late Hawaiian poet Wayne Kaumualii Westlake is represented here by a unique set of concrete poems and experimental verse. Tusiata Avia tells tales of Nafanua in different settings around the world; Rangi Faith imagines &‘First Landing'; Imaikalani Kalahele writes a letter to his brother; Brandy Nalani McDougall discusses &‘cooking Captain Cook'; Karlo Mila, eating chocolate, watches &‘paul holmes apologise for calling kofi annan a darkie'; Robert Sullivan writes against the grain; and Apirana Taylor follows zigzag roads. Ranging from the lyrical and sensual to the harsh and gritty, from the political to the personal, the poems in Mauri Ola are infused with vivid imagery, claims of identity, laments, rages and celebrations that confront again a colonial past and a global present.
Describes all the different meanings of aloha.
Haina ia mai ana ka puana. This familiar refrain, sometimes translated "Let the echo of our song be heard," appears among the closing lines in many nineteenth-century chants and poems. From earliest times, the chanting of poetry served the Hawaiians as a form of ritual celebration of the things they cherished--the beauty of their islands, the abundance of wild creatures that inhabited their sea and air, the majesty of their rulers, and the prowess of their gods. Commoners as well as highborn chiefs and poet-priests shared in the creation of the chants. These haku mele, or "composers," the commoners especially, wove living threads from their own histoic circumstances and everyday experiences into the ongoing oral tradition, as handed down from expert to pupil, or from elder to descendant, generation after generation. This anthology embraces a wide variety of compositions: it ranges from song-poems of the Pele and Hiiaka cycle and the pre-Christian Shark Hula for Ka-lani-opuu to postmissionary chants and gospel hymns. These later selections date from the reign of Ka-mehameha III (1825-1854) to that of Queen Liliu-o-ka-lani (1891-1893) and comprise the major portion of the book. They include, along with heroic chants celebrating nineteenth-century Hawaiian monarchs, a number of works composed by commoners for commoners, such as Bill the Ice Skater, Mr. Thurston's Water-Drinking Brigade, and The Song of the Chanter Kaehu. Kaehu was a distinguished leper-poet who ended his days at the settlement-hospital on Molokai.
Poetry. Fiction. Asian & Asian American Studies. WHAT WE MUST REMEMBER features 28 linked poems, followed by insightful commentary on each poem by its author. With an introduction and timeline of events by Massie scholar John P. Rosa, this special issue revisits the 1932 kidnapping and murder of Native Hawaiian prize fighter Joseph Kahahawai and the events surrounding it, commonly known as "The Massie Case." Referred to as "one of the greatest criminal cases of modern times" by the Chicago Tribune, the incident was reflective of the racial tensions in plantation-era Hawai'i and, according to scholar David Stannard in his book Honor Killing, "provided the seedbed for subsequent [social] change" in the local community. In this new book, each poet investigates, interrogates, and brings to light the racial, ethical, and moral complexities of one of Hawai'i's most controversial criminal cases, the linked verses interwoven with factual detail to create a mosaic of emotional depth that explores the implications of the historical events that took place and that continue to reverberate today.
An extraordinarily popular collection of poems written in and about Hawaii. First published in 1928, the book went through two printings a year for many years, and Blanding became the most popular American poet of the period. ""Vagabond's House"" is an ideal expression of that imaginary retreat which each man builds and furnishes according to his heart's desires. Dreamy illustrations give the book a look to match.