I would go up there quite a bit. If I walked to the rim of the crater I could see the city, look down over Waikiki and the harbor and the jammed arterials, but up there it was quiet, and high enough into the rain forest so that a soft mist falls most of the day. One afternoon a couple came and left three plumeria leis on the grave of a California boy who had been killed, at nineteen, in 1945. The leis were already wilting by the time the woman finally placed them on the grave, because for a long time she only stood there and twisted them in her hands. On the whole I am able to take a very long view of death, but I think a great deal about what there is to remember, twenty-one years later, of a boy who died at nineteen. I saw no one else there but the men who cut the grass and the men who dig new graves, for they are bringing in bodies now from Vietnam. The graves filled last week and the week before that and even last month do not yet have stones, only plastic identification cards, streaked by the mist and splattered with mud. The earth is raw and trampled in that part of the crater, but the grass grows fast, up there in the rain cloud.
It is not very far from the crater down to Hotel Street, which is to Honolulu what Market Street is to San Francisco, the bright night street in a port city. The carrier Coral Sea was in Honolulu that week, and 165 men in from Vietnam on rest-and-recuperation leave, and 3, 500 Marines on their way to Okinawa and then to Vietnam (they were part of the reactivated 5th Marine Division, and it was the 5th, if you will remember, to which the sixteen-year-old Samuel Foster Harmon belonged), and besides that there was the regular complement of personnel for Pearl and Hickam and Camp H. M. Smith and Fort Shafter and Fort De Russy and Bellows A. F. B. and the Kaneohe Marine Air Station and Schofield Barracks, and sooner or later they all got downtown to Hotel Street. They always have. The Navy cleaned out the red-light houses at the end of World War II, but the Hotel Streets of this world do not change perceptibly from war to war. The girls with hibiscus in their hair stroll idly in front of the penny arcades and the Japanese pool halls and the massage studios. “girls wanted for massage work,” the signs say. “what a refreshing new tingle.” The fortune-tellers sit and file their nails behind flowered paper curtains. The boys from the cast of the Boys Will Be Girls Revue stand out on the sidewalk in lame evening dresses, smoking cigarettes and looking the sailors over.
And the sailors get drunk. They all seem to be twenty years old on Hotel Street, too, twenty and nineteen and eighteen and drunk because they are no longer in Des Moines and not yet in Danang. They look in at the taxi-dance places and they look in at the strip places with the pictures of Lili St. Cyr and Tempest Storm outside (Lili St. Cyr was in California and Tempest Storm in Baltimore, but never mind, they all look alike on Saturday night in Honolulu) and they fish in their pockets for quarters to see the Art Movie in the back of the place that sells Sunshine and Nude and all the paperbacks with chained girls on the cover. They have snapshots laminated. They record their own voices (Hi, Sweetheart, I’m in Honolulu tonight) and they talk to the girls with hibiscus in their hair.
But mostly they just get a little drunker, and jostle around on the sidewalk avoiding the Hawaii Armed Forces Patrol and daring one another to get tattooed. In a show of bravado they rip off their shirts a half block before they reach Lou Normand’s Tattoo Parlor and then they sit with glazed impassivity while the needle brands them with a heart or an anchor or, if they are particularly flush or particularly drunk, a replica of Christ on the cross with the stigmata in red. Their friends cluster outside the glass cubicle watching the skin redden and all the while, from a country-and-Western bar on the corner, “King of the Road” reverberates down Hotel Street. The songs change and the boys come and go but Lou Normand has been Thirty Years in the Same Location.
Perhaps it seems not surprising that there should be a mood of war at the scenes of famous defeats and at the graves of seventeen-year-olds and downtown in a port city. But the mood is not only there. War is in the very fabric of Hawaii’s life, ineradicably fixed in both its emotions and its economy, dominating not only its memory but its vision of the future. There is a point at which every Honolulu conversation refers back to war. People sit in their gardens up on Makiki Heights among their copa de oro and their star jasmine and they look down toward Pearl Harbor and get another drink and tell you about the morning it happened. Webley Edwards was on the radio, they remember that, and what he said that morning again and again was “This is an air raid, take cover, this is the real McCoy.” That is not a remarkable thing to say, but it is a remarkable thing to have in one’s memory. And they remember how people drove up into the hills and parked to watch the fires, just as they do now when a tsunami wave is due. They remember emergency wards in school auditoriums and how the older children were dispatched to guard reservoirs with unloaded guns. They laugh about trying to drive over the Pali in the fog after the 9 p. m. blackout, and about how their wives took thick books and large handkerchiefs down to the Y. W. C. A. and used them to show girls from the outer islands how to make a hospital bed, and they remember how it was when there were only three hotels on all two miles of Waikiki, the Royal for the Navy, the Halekulani for the press, and the Moana. In fact they contrive to leave an indistinct impression that it was in 1945, or perhaps ‘46, that they last got down to Waikiki.”I suppose the Royal hasn’t changed,” one Honolulan who lives within eight minutes of the Royal remarked to me. “The Halekulani,” another said, as if it had just flickered into memory and she was uncertain it still existed.” That used to be kind of fun for drinks.” Everyone was younger then, and in the telling a certain glow suffuses those years.
And then, if they have a stake in selling Hawaii, and there are very few people left in Hawaii who refuse to perceive that they do have a stake in selling it, they explain why Hawaii’s future is so bright. In spite of what might be considered a classic false economy, based first upon the military, next upon the tourist, and third upon subsidized sugar, Hawaii’s future is bright because Hawaii is the hub of the Pacific, a phrase employed in Honolulu only slightly less frequently than “our wonderful aloha spirit.” They point out that Hawaii is the hub of the Pacific as far as the travel industry goes, and that Hawaii is also the hub of the Pacific as far as — they pause, and perhaps pick up a glass and study it before continuing. “And, well, frankly, if it goes the other way, what I mean by that is if the situation goes the other way, we’re in the right spot for that, too.” Perhaps nowhere else in the United States is the prospect of war regarded with so much equanimity.