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Content Warning: This section of the guide depicts suicide, gender-based violence, sexual assault, racist and bigoted language, and outdated descriptions of patients with Hansen’s disease.
In present day, Rachel recalls Honolulu and her vivid memories of “Steamer Day,” the day when her father arrived from his trips to other countries. Remembering the buildings, from an Italianate palace to church steeples, Rachel recounts the variety of architectural styles that characterize Honolulu close to the turn of the century. Returning to 1891, Rachel narrates and describes the days before her father’s return. Noting that his letter arrived five weeks before, Rachel knows her father will arrive soon. Rachel’s sister, Sarah, and brothers, Ben and Kimo, are introduced, and Rachel records her mother Dorothy’s commands as the children dress for church, and Dorothy and Rachel take taro and make poi. Later, during Sunday school, Rachel questions Mr. MacReedy, their teacher, about which sea Jesus crossed on foot—exasperated, he first avoids and then answers the question.
As Steamer Day arrives, Dorothy and Rachel head to Honolulu Harbor and meet Henry, Rachel’s father and Dorothy’s husband. After eight months at sea, Henry and Dorothy host a party that night, Dorothy’s brother Will brings fish, and Henry’s brother Pono comes, entertaining Rachel. The children get their gifts from Henry, and Rachel gets another doll, a nesting doll made in Russia that Henry bought in Japan. As Rachel goes to bed that night, she makes Henry sing her a song— “Whiskey Jonnie.”
At school later, Rachel hears that King Kalākaua has died during his trip to America. The teachers cancel school, and, for the next fifteen days, the king lays in state at Iolani Palace in Honolulu. Dorothy, Henry, and their children wait in line to pay their respects.
Henry leaves again on the SS Mariposa for a lengthy voyage to San Francisco and South America. At the harbor, Dorothy and her family notice the Mokoli’i, a smaller ship, that everyone but Rachel recognizes as the ship that takes “lepers” to Moloka’i, a colony for those who suffer from Hansen’s disease (leprosy).
The chapter opens at the Waimānalo Plantation, miles from Honolulu, where the health inspector Nakamura searches for possible cases of leprosy. As he approaches Kapono Kalama’s house, Pono’s wife, Margaret, tells the inspector that Pono (Henry’s brother) isn’t home. As the inspector surveys the house and the empty plate with food, he realizes that Mr. Kalama has gone into hiding. After setting some of the crops ablaze to smoke Pono out of hiding, the overseers help Nakamura find Pono, whose face bears a mark of leprosy.
Rachel remembers that Henry had come back to Honolulu before Christmas, and they heard in April 1892 that Nakamura had arrested Pono on suspicion of leprosy, and authorities were holding him at Kalihi Receiving Station. Rachel asks to visit, and both her parents refuse, before Dorothy makes her children swear not to mention Pono’s diagnosis.
After Henry leaves, Rachel and Sarah quarrel—Rachel makes a pretend soup using Sarah’s hat among other bits of inedible materials. Sarah avenges her hat by switching the clothes among the dolls in Rachel’s collection. As Sarah threatens to break one of Rachel’s dolls, they fight physically, and Dorothy checks Rachel’s wounds. Dorothy sees a small rash on Rachel’s left thigh, which bleeds but remains numb to any of Dorothy’s probing. Dorothy bandages it, worried that’s a sign of leprosy. After two weeks, Dorothy checks the wound again, finding the gash inside it healed. The rash remains with flaky skin, and Dorothy takes Rachel to a kahuna, a Hawaiian healer. Although Dorothy considers kahuna useless, a result of her staunch Christian faith, she realizes a haole (white or foreign) doctor will report Rachel to the authorities. She finds a Christian kahuna who prescribes a medicine and prayer, and, five days later, the mark disappeared.
Yet, the mark reappears two weeks later. Dorothy and Henry decide to pursue ho’oponopono, a ceremony to resolve resentment in a family, believing that these resentments manifest physically as Rachel’s mark. With Henry’s father Grandpa Maka presiding over the ceremony, Henry shares that he had a dream before Rachel’s birth, which gave him Rachel’s true name Aouli, or blue vault of heaven. Grandpa Maka questions why Henry ignored this dream and Henry explains that he didn’t want to upset his wife or her Christian faith. As they feast later, Grandpa Maka uses Rachel’s new name.
Rachel recounts how she must constantly wear to school a bandage on her left thigh to hide the discoloration there, and shoes to hide the painless mark on her left foot. Teased for wearing shoes, Rachel chafes at her mother’s orders, but obeys. Inspector Wyckoff, from the Health Department, visits and checks the hands of Rachel and the rest of the second-grade class. As he checks Rachel’s hand, she nervously taps her left foot, until he asks her not to, and then he remarks that her palms suggest she’ll have a long life. After checking Harry Woo, another student, Wyckoff takes Harry with him, and Harry doesn’t return to class.
When Henry returns from another voyage, he joins Dorothy at church, which he rarely does. The preacher, a middle-aged Hawaiian man, discusses leprosy in his sermon, criticizing the native people for their sins and linking leprosy to immorality after detailing the laws that require banishment to Kalaupapa and a liquidation of all the person’s property.
Following the sermon, Henry and Dorothy fight more frequently, as Dorothy blames Pono and his adultery for infecting their daughter, before discussing Henry’s own extramarital affairs. After their fight, Henry prays for his daughter’s recovery, unsure that God has heard him.
Rachel and Sarah fight two weeks later, pushing each other at recess. As their fight escalates, Sarah calls Rachel a leper. As Rachel runs away from school, she takes the trolley to King Street. After she returns home, she finds Wyckoff, the health inspector waiting for her. Taking her to the receiving station, they run tests on Rachel.
Remanded to the station, Rachel rooms with a girl named Francine and sees other children, all of whom exhibit signs of leprosy. Rachel also sees Pono, who remains at the receiving station, covered with sores and walking with a cane.
Dorothy and Henry find a notice of quarantine on their house after Wyckoff takes Rachel to the receiving station. Their neighbors avoid them, so Dorothy tries harder to engage with her neighbors. Dorothy stops going to church after the organizer of the Christmas bake sale refuses Dorothy’s cake. As Henry visits Rachel, Pono asks about his children, noting how long it has been since he’s seen them. He swears his wife Margaret will divorce him, as he confesses that he will be sent to the leper colony of Kalaupapa on Moloka’i Island.
After Pono leaves for Moloka’i, a contingent of American soldiers arrive, and Henry worries about their presence in Honolulu. The American-controlled Committee for Public Safety organizes against the queen, and, with the blessing of the American Ambassador and the American troops, the Provisional Government takes over. News of the queen’s deposition soon spreads.
A doctor examines Rachel again, reassessing her condition. Touching close to her genitals, the doctor hurts Rachel, who grabs his genitals as revenge. Soon after, Dorothy and Henry receive official notice that Rachel will go to Moloka’i. Although both Dorothy and Henry want to go with her to take care of her, neither can. Henry realizes he has to work, and Dorothy has to remain with her other children. Pono will have to care for Rachel.
US President Grover Cleveland denounces the ouster of Hawaii’s queen but fails to return her to power, and the Provisional Government proclaims the creation of the Republic of Hawaii.
As Rachel leaves abroad the steamer to Moloka’i, she sees her family, cries, and briefly touches her mother, as Dorothy stands on the dock.
The opening chapters introduce Hansen’s disease—or leprosy, as it’s called throughout the novel—and link this condition to the changing status of native Hawaiian peoples and their knowledge and customs, along with the changing state of Hawai’i as a kingdom. Leprosy functions as a metaphor for the colonizers that have invaded Hawai’i. Exile defines these opening chapters and is shown to shape the lives of everyone from the most powerful Hawaiians to those who lack the freedom to leave Moloka’i.
Bodily infirmity and disease link the monarchy and its penultimate ruler to those Hawaiians who have leprosy, as Pono’s diagnosis follows the description of the king’s death. Like the Hawaiians quarantined at the receiving station or permanently stationed at Moloka’i, King Kalākaua dies from a disease which he cannot fight, because of its foreignness—without immunity and contact that would build immunity, the king “had succumbed, it was now known to a haole sickness called Bright’s Disease” (13). The cause of his death—which occurred in the United States or on the journey back—foreshadows that the kingdom will slip away from the native royal family, as foreigners infect the land. Just as the king dies on foreign land or water, his successor and sister, Queen Lili’uokalani, eventually also dies on foreign land, losing the kingdom to a committee of powerful Americans and watching the island she ruled over change completely.
The king’s grim journey back to Hawai’i connects further to Hansen’s disease and its role in the novel. When Rachel leaves school the day the king dies, she sees people who, “[s]tunned and grieving,” congregated together “in small groups from which rose a spontaneous, collective wail unlike anything Rachel had ever heard before—a deep woeful cry that seemed to come from a hundred hearts at once” (12). This collective grief sounds similar to the cries of those who lose their relatives to exile at Moloka’i. Later, at the same harbor that welcomed the ship carrying the king’s body, Henry and Dorothy notice another grief-stricken moment and collective mourning when they notice the steamer taking loved ones to permanent exile on Moloka’i. Hearing the cries of the sorrowful families, Henry and Dorothy guide their children away from the distressing scene:
[A]way from the hapless procession marching onto the grimy little steamer, away from the crowd that mourned for them as though they were already dead; but couldn’t escape the crowd’s lament, the sad chorale which followed them like some plaintive ghost, all the way to the Mariposa (17).
Like the king, these people headed to Moloka’i ride a ship toward their deaths, which, while initially figurative, remain permanent. Those with Hansen’s disease, treated “as though they were already dead,” exist in between life and death.
This in-between state is not limited to those headed to Moloka’i. As all Hawaiians lose freedom and control of their nation to Americans, and the provisional government becomes less provisional, Hawaiians remain in their homeland but without the stability that home is assumed to offer. Anticipating the change in government as he sees the king lying in state at Iolani Palace, Henry, with tears in his eyes, recalls “the prophecy—made over a century ago by the high priest Ka’opulupulu, who told the ruler of O’ahu that the line of kings would come to an end at Waikīkī, and the land would belong to a people from across the sea” (14). This prophecy, ambiguously-worded, causes Henry to worry—will the line of kings end, whether by infection or through the military might of the Americans? As these chapters make clear, Hansen’s disease, a condition brought to Hawai’i by colonists, works as effectively as the Americans and their provisional government, at reducing Hawaiians to exiles in their own land.
The layers of grief that these chapters depict, along with the connections between Hansen’s disease and the foreign influence and military intervention, present exile as an inevitable end for native Hawaiians, whether with a measure of freedom living outside of Moloka’i or under painful restrictions at Kalaupapa or Kalawao. Henry recognizes this inexorable reality and considers his losses. As he readied “himself to lose a daughter he cherished, and mourned a marriage painfully bled of love and affection, Henry Kalama grieved too for the loss of his country, his kingdom, now just a kingdom of the heart” (55). Hansen’s disease robs him of his young daughter and empties his marriage of affection and love, while the physical and political kingdom of Henry’s youth and his forebears becomes one more lost love.
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