100 Books Like The Last Aloha

I’m a bit of a fangirl when it comes to Sara Ackerman. I love all of her books about real people in Hawaii during World War II. Her characters are believable and compelling, and the Hawaiian setting is a different aspect of World War II than is usually presented. This book features a close-knit group of women who open a pie stand near a military base. Violet’s husband has disappeared without a word, and she suspects her daughter knows something she isn’t telling. When tension and suspicions rise among neighbors, the women are accused of being spies, and Violet must keep her friends and family safe. 

I truly enjoy historical fiction that presents a culture or era from a different point of view. This one is set in early twentieth-century Hawaii. It features a girl, Letty, returning from a boarding school on the mainland. Letty’s devoted to animals, and she is one of the first female veterinarians in history. She jumps into the ocean to save a horse. Her healing powers are strengthened by her connection to the ancient Hawaiian land. The undercurrent of power gives this novel a fantasy feel, but it doesn’t lose its historical aspect. Then Letty learns the price of her healing power—her kisses can kill. Even worse, she’s attracted to the man who owns the horse she saved. 

This is one of three historical novels by Alan Brennert set in Hawaii. I like this one best because it is set in 1914, not long before my own novel opens in Honolulu. It portrays a very different side of the city, however. Brennert’s novel features a Korean picture bride who is married off to a poor laborer who mistreats her. She and her fellow picture brides come together to improve their lives, resulting in a unique portrayal of Waikiki before the highrises, of the tenements in Chinatown, and the plantations before powerful unions.

Frank Leong is a wealthy shipping industrialist who moves his family from China to Oahu at the turn of the nineteenth century. Frank is murdered, which completely destroys his family. Whispers of an ancient parable haunt the Leongs, of a red string that connects someone to their perfect match but can also punish for mistakes in love. Frank’s pregnant teenage granddaughter, Theresa, is the next target to suffer from her family’s curse. The story is told from multiple points of view in this tragic multigenerational story of secrets and betrayal. My own interest in family history made this novel resonate deeply within me as several generations of women fail in their relationships.

This book explores the customs and development of the Polynesian Islands prior to interference from European powers.

I see the rawest forms of our instincts and psychology in the indigenous peoples of the world. This book is a call for all readers to suspend the tendency to judge other cultures and time periods and just be observers. 

Jessica Machado’s father is Hawaiian and her mother is from the American South, a factor that looms large in a place like Hawaiʻi.

As a child, Machado senses that her life is complicated by history and context, but doesn’t have the words to formulate the questions brewing within.

In this touching coming-of-age memoir, Machado grapples with some of the same haunting questions and uncertainties that inspired my writing of my book while taking us on a journey to discover if her unshakeable connection to Hawaiʻi is a blessing, a burden, or a responsibility she’s lucky to have.

A must-read for anyone who has ever left home wondering how to take it with them.

In the ’70s through the early ’90s, Hawaiʻi went through massive social change.

There was a growing consciousness of the manipulation and exploitation that had accompanied Hawaiʻi’s colonization. With that came a collective desire to right the wrongs of history.

Trask describes the institutional racism, discrimination, and closed doors she faced as she attempted to forge a path for Native Hawaiian studies at the University of Hawaiʻi while participating in a growing movement against continued occupation. 

While working on my book, some suggested I soften the political thread woven within the story. It was Trask’s essay “Lovely Hula Hands” (a chapter of From a Native Daughter) that encouraged me to stay true to the portrayal of Hawaiʻi that countered the unflawed, pristine playground image sold to tourists.

Written at a time when Hawai’i’s history was still being glossed over, Trask’s interviews and essays provide an unapologetic perspective and… show more.

One of my working titles for my book was A Country All Its Own, a phrase pulled from this exquisite novel set in Hilo, Hawaii. Ball plays with the theme of disappearance throughout, and it’s basically the female version of Australia Stories. Kinau, the narrator, is also shaped by her mother’s stories and haunted by the disappearance of her father, and the death of her ex-husband's stepson, who comes to the island in search of his own destiny. Original and breathtaking in its craft and message, Ball is an accomplished storyteller.

I adore the passages about what happens to the mind and body when you enter the ocean. I connected to the ideas about thinking through water and oceanic literacies. All the experiences shared about being in nature felt completely relatable.

Kanaka Maoli writer Karin Amimoto Ingersoll describes dropping into a wave on her surfboard as a kinaesthetic/sensorial experience (not that I can surf, but I felt so present with the writer at that moment!). She expands on this tantalizing metaphor in the most wondrous ways.

I read this during a particularly difficult phase of writer’s block, and it gave me the vital inspiration I needed to reflect on issues of identity, knowledge, and culturally safe expansive spaces in forms not imprisoned by “academic speak.” Needless to say, my words flowed like water.

Bamboo Ridge Press was established in 1978 to publish the multiethnic literature of Hawai’i. In this selection the best of its first eight years, the writers, of various ancestries, celebrate their families, cultures, and traditions, but also the cultures and traditions of others—a Hawaiian poet writes about a Tang fisherman; a poet of Chinese-Japanese ancestry and a writer of Puerto Rican ancestry reflect on Hawaiian activism; a white poet features bodhisattvas and Kuan Yin while another dedicates her song to a Hawaiian musician. Native Hawaiian writers are underrepresented in this collection published during a renaissance of Hawaiian culture, but a year earlier, in 1985, Bamboo Ridge also published Mālama: Hawaiian Land and Sea, an anthology of Native Hawaiian writers.