By Paul Theroux
During this wickedly satiric romp, Paul Theroux captures the essence of Hawaii because it hasn't ever been depicted.
The novel's narrator, a down-on-his-luck author, escapes to Waikiki and shortly unearths himself the chief of the resort Honolulu, a low-rent institution a number of blocks off the seashore.
Honeymooners, tourists, wanderers, mythomaniacs, squaddies, and households all sign up to the inn. just like the Canterbury pilgrims, each visitor has are available seek of anything -- solar, love, happiness, items of unnameable longing -- and everybody has a narrative.
By turns hilarious, ribald, soft, and tragic, resort HONOLULU deals a distinct glimpse of the mental panorama of an American paradise.
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Additional resources for Hotel Honolulu: A Novel
First, it still doesn’t allow us to say where those words (rather than a particular physical manifestation of those words) are. Second, those words aren’t necessarily stable: not every edition of a book offers the reader precisely the same set of words. There are, for instance, slight differences between the first edition of Le chiendent and a revised edition printed in 1968. But the differences needn’t be slight: the 1753 edition of Manon Lescaut adds an entire episode (the story of the Italian prince) that does not appear in the 1731 edition.
We have perhaps located, in all its inexistence, the original of Le chiendent, but this is not to say that the original is the book itself. Surely, when I say “Le chiendent,” I am not exactly referring to that one original volume; the book itself must still be somewhere else. But where? where is the book itself? I am not the first to pose that question. René Wellek and Austin Warren devote an entire chapter to it in their venerable Theory of Fiction (142–57), and their discussion can give us a first glimpse into its difficulty.
The image of the continuum works, but only if we think of it as both asymmetrical and tilted—asymmetrical in that there is an absolute, vital presence of the original at the Mona Lisa end, but no corresponding absolute absence of the original at the tic-tac-toe end; tilted in that, although the original is less present on the tic-tac-toe side, the Mona Lisa side exerts a sort of gravitational pull from which the denizens of the other side can never fully escape, for no matter c opy how removed from an original a copy may be, it is never entirely free of it.
Hotel Honolulu: A Novel by Paul Theroux