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By Dee DeTarsio

When San Diego weathercaster, Jaswinder Park, is mysteriously summoned to the island of Maui in Hawaii to assist her grandmother, she finally ends up wasting her task. This fair-haired, light-skinned foreigner, referred to as haole by way of the natives, comes to a decision to stick in Maui for a few days until eventually she will be able to determine what to do together with her lifestyles. She realizes that her quickly journey to Maui will not be all she’s hoping for when:

-She has to bail her Hawaiian/Korean grandmother out of prison for ownership of pakalolo.
-The merely factor she will comprehend her grandmother say is: “Not that.”
-She can’t come to a decision which hurts worse, her sunburn, hangover, or thoughts of the evening before.
-She’s classified the “Liquor Licker” at the entrance web page of the Maui information in a photograph that exhibits her doing a shot of tequila with a hunky Hawaiian who’s been chanced on dead.
-It turns out she’s had orgasms that experience lasted longer than her career.
-She scrapes the ground of the barrel to discover her father or mother angel.

Beautiful textile present in her grandmother’s closet unfolds a destiny for Jaswinder as she designs sensuous silky wraps known as sunshminas that offer sunlight safeguard. She attempts for a Hollywood connection, yet her corporation, Haole wooden, has a few transforming into pains. From searching for a killer, to promoting her sunshminas, to lusting after Dr. Jac, the island dermatologist, to attempting to forget about her so-called mum or dad angel, can Jaswinder discover ways to include the island lifestyle? Aloha!

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Additional resources for Haole Wood

Example text

The first may be a response to civil war in England; the second broaches a subject used equally by chansons de geste and insular romance. The romans antiques are quickly followed by – indeed, may be contemporary with – two talented and unrelated poets called Thomas, whose romances may unequivocally be called Anglo-Norman, though their settings and heroes are decidedly insular. The authors of Horn and Tristan could have written any time between the 1150s and 1170s; there have been persuasive attempts to link them to the royal court but (despite Tristan’s praise of London) no firm evidence (Short 1991: 231).

Yet there is little comment on the qualities of a good ruler, or on political issues; these are much stronger in some later versions of the story, most noticeably in Shakespeare’s Pericles, Prince of Tyre. Most strikingly, Apollonius is no warrior, and fights no battles; instead, his main characteristic is his learning, which helps him to solve the initial riddle and causes the princess to fall in love with him. Both the female protagonists are very learned too. This is not a feature of other ancient romances, and makes one wonder all the more where this story was produced, and for whom.

It is certainly true, however, that they are not interested in insular material: ‘‘the new intellectual vitality of the twelfth century’’ (Short 1991: 231) has led them to take their stories from classical writers such as Virgil and Statius, and their representations of the tortures of love from Ovid, even if characters and combats are frequently still indebted to the chanson de geste. In several ways these romans antiques remind us of the vernacular histories: their authors make us aware of their presence through comments on the action and on the importance of demonstrating one’s learning by a story worthy of memory (as in the Roman de The`bes), and through their desire to instruct their audiences.

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Haole Wood by Dee DeTarsio

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