At heart, all novelists are dreamers. We concoct vivid stories from fleeting, overheard comments and turn complex ideas into 85,000 words of captivating prose. As we write, we envision other people absorbing our words and finding pleasure or guidance in them. If we are honest, we cherish the idea that our stories might reach tens of thousands – or hundreds of thousands - of readers. And, if we truly dream big, we envision our words finding their way onto the screen so that millions of people who are not ordinarily readers will discover our words (and at least some will go back to the source material and read what we originally wrote). We mentally cast those films – Meryl Streep for the female lead, of course, and maybe George Clooney for the male starring role.
I can only imagine what Kaui Hart Hemmings felt when she learned that her debut novel not only had been optioned by a respected director, but that it had attracted Mr. Clooney to play her novel’s narrator and protagonist, Matt King.
I am one of those people who saw the movie and immediately sought out the book. While the film closely follows the book’s story arc, the two function almost as companion pieces. Hemmings tells a tale filled with interior monologues about contemporary Hawaii, parenting, and the pain of discovering that the life you thought was good turned out to be unbearable to your spouse. By contrast, Director Alexander Payne focuses on Matt King’s anger, his cluelessness about his wife and children, and his attempts to cope with the tsunami that is about to engulf his life. It’s the same story, but with inevitable differences in emphasis.
The novel’s triggering events are the irreversible coma in which Matt’s wife, Joanie, now lies – the result of a speed boat accident – and the impending sale of a massive estate of which he is the principal trustee. Matt is forced to confront children whom he never really knew and the new-found discovery that his wife was in love with another man. Oddly, especially given the book’s title, Hemmings downplays the land sale aspect of Matt’s story. It falls to director Payne to add scenes that take the family to the land to which they were entrusted and to flesh out the conflicts that roil the extended family that will be affected by the sale.
The heart of both stories, though, is Matt’s coming to grips with the fact that he has been an absentee father of two girls, now ten and 17, and that he really knows neither of them. Wrapped up in his work, he has also been an absentee husband, and it is his older daughter who tells Matt of his wife’s infidelity. That new-found knowledge is the catalyst for what follows: an effort to find and confront the man who stole his wife’s affections.
That odyssey is what propels both the film’s and the book’s narrative, but what we see and read are focused in two very different areas. The movie visually shows us a Hawaii that tourists never contemplate. And when we see the ‘familiar’ Hawaii – as at the Princeville resort on Kauai – it is a jarring realization that non-Hawaiians have imposed an alien culture on an island chain with its own rich history.
Hemmings focuses on Matt King’s attempts to connect with his children, who speak an incomprehensible language and have built their lives without him. Hemmings has a terrific ear for dialogue and beautifully captures the family’s dynamic. Director Payne wisely lifts many of those lines intact, as when King responds to a stoner teen, Sid, who may or may not be his older daughter’s boyfriend. Sid tells Matt that he’s smart and Matt, who has listened to Sid’s inanities for two days, snaps back, “You’re about a hundred miles from the town of Smart.”
In short, the book is a pleasure. I read it in two sittings and then put it in the shelf I reserve for books I intend to read again.