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45 pages 1 hour read

Kawai Strong Washburn

Sharks In The Time Of Saviors

Fiction | Novel | Adult | Published in 2020

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Symbols & Motifs

The Shark

The author uses the unusual behavior of animals to reveal Nainoa’s miraculous powers. The most prominent of these animals is the shark. For a shark, a ruthless killing machine, to show compassion for a child by returning him to his mother dramatically bends the natural order of things and creates the ultimate miracle. However, in the end, the shark turns out to be exactly what it appears to be—a cold-blooded predator incapable of showing compassion toward any other living creature. The legend that the family creates around the shark ends up devouring Nainoa, who cannot live up to the exalted expectations of being a savior.

The shark motif also links to the ancient Hawaiian gods. Malia refers to Ku, who she notes is both a god of war and a god of life. “Sometimes he came as a shark,” she says (68). She also mentions the ‘aumakua, which are “personal gods, deified ancestors who might assume the shape of sharks” (Wehewehe.org). These shape-shifting legends may explain why the shark incident makes Malia believe the gods sent Nainoa to save the family and Hawaiian culture.

Callings and Voices

Throughout the novel the characters refer to “callings” from mystical voices that compel them to take actions. These callings often emanate from the land, as Malia reveals in Chapter 1: “The kingdom of Hawaii had long been broken—the breathing rain forests and singing green reefs crushed under the haole fists of beach resorts and skyscrapers—and that was when the land had begun calling” (3).

When he is at his lowest point after the death of the pregnant woman, Nainoa plays his ukulele and remembers the beaches, rainforests, and sunsets of his childhood back in Hawai‘i: “I played and remembered all of this, and the memories became a calling, not a voice but instead a very distant urge that set in my sternum and started to spread like medicine until it was pulling at my mind, directly. Home. Come Home” (168). He answers this pull, deciding to leave Portland and return to Hawai‘i.

Asked why he decided to return to the islands, Nainoa tells his mother that he just had a feeling he needed to come home. His mother tells him, “That feeling, it’s something speaking, Noa. So listen” (177). A short time later, when Nainoa has a feeling that he must hike in the Waipi‘o Valley, he takes his mother’s advice and listens to it. He dies during the hike, and his mother later has guilty feelings about encouraging him to go. However, she tells Kaui, “He was called there […] He was feeling it strong once he got home. The valley was where he needed to be” (196).

In the next to last chapter, Kaui says she and other local Hawaiians have answered a calling to create new local farms: “They’d been called, too, is what they said. That same voice, the one that came to me like a hula, that came through Dad like a river” (362). Later, when she asks her brother Dean to come home, she says, “Does it call you now, too?” (363). Dean’s promise to consider returning home may suggest that he has indeed heard the call himself.

Gods, Legends, and Spirits

Malia is the main voice of the gods in the novel, but other characters refer to them as well, apparently influenced by her devotion to them. For Malia, the gods embody a nostalgia for the lost culture of the old Hawai‘i, but they also represent a hope for a future revival.

The gods are inextricably connected to the land. As Malia explains, they thrive among the pristine landscapes, where the land is healthy: “sometimes I believe none of this would have happened if we’d stayed on the Big Island, where the gods are still alive. Fire goddess Pele with her unyielding strength, birthing the land again and again in lava, exhaling her sulfur breath across the sky” (67). In other words, the Big Island’s unspoiled valleys and forests nurture the gods, while O‘ahu’s skyscrapers and big hotels kill them.

While the gods are characters in ancient Hawaiian legends, the night marchers are spirits of ancient warriors who appear in physical form—or at least visions of them—to Malia and Augie at the beginning and end of the novel. When their dead son, Nainoa, appears with the night marchers on the Big Island at the end of the story, the scene symbolizes both the deification of Nainoa as well as hope for the family’s revival.

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