Rebekah’s Kaʻaʻawa Mountain Apple Pie

3 07 2011

My mountain apple pies

Okay, okay, here’s the recipe. Jeez. I must say, it’s too good to not share. When there was a mountain apple tree outside the studio — Hawaiians call the fruit ʻōhiʻa ʻai (Eugenia malaccensis) — I made these pies every summer, one after another, so many that I froze them to eat later.

One year I was too late, and I could only watch the bulbul birds eat the entire crop in 20 minutes. “Hey fellas, come on over: breakfast!” Another year afterwards, the fruit was just not edible anymore. I think the tree was just old, so we cut it down.

This past Friday, I went to Candy’s house to catch a ride to our art show reception at 1132 Bishop Street in Honolulu. But first she pressed me into service to help pick the mountain apples from her tree for the refreshment table.

Oh, my gosh, I have never seen more beautiful mountain apples!  Candy and her husband had found from a garden shop a solution that repelled the pesky fruit flies that love to sting the fruit (causing the fruit to become wormy. Yecch!)

Clearly, Candy and Ken have a harvest they cannot possibly eat by themselves alone, and I was overjoyed when they offered me the surplus. Thinking about our family potluck gathering the next day, I thought, I’ll make pie!

This recipe has already been published in Everyone, Eat Slowly: The Chong Family Food Book (Kaaawa: Chong Hee Books, 1999). I adapted it from a formula a chef at the Kahala Hilton gave me many years ago when I worked for Sunset. For my recipe, the Betty Crocker brand mix is a must. Yesterday I used 15 very large mountain apples for one 9″ pie. I substituted 3 tablespoons fresh calamansi juice for the lemon juice, and I brushed the top with half-and-half cream for a golden brown finish.

Gorgeous mountain apples, freshly picked and washed. The foreground shows the apples pitted, trimmed, and cut into chunks with a paring knife.

REBEKAH’S KAʻAʻAWA MOUNTAIN APPLE PIE

In Kaʻaʻawa the season for ʻōhiʻa-ʻai (mountain apples) is in June, usually, and it last for about two weeks. The challenge is to harvest them before the birds do. And then, what do you do with them? There are only so many fresh mountain apples one can eat. Now you can try them in a pie! The flavor is a cross between apple and rhubarb.

Betty Crocker Pie Crust Mix
5 cups sliced fresh mountain apples
1/2 teaspoon salt
1 teaspoon cinnamon
3/4 cup sugar
3 tablespoons butter, cut up in pieces
Juice of 1 lemon, or equivalent in lime juice
3 tablespoons tapioca OR 1/4 cup flour

Prepare Betty Crocker Pie Crust Mix for a double-crusted pie.

Combine the mountain apples, salt, cinnamon, sugar, butter, and lemon juice. Cook until the mountain apples are half done, about 10 minutes in the microwave on full power. Remove from heat.

Gradually stir in tapioca or flour. Cool mixture. (Place the mixture in its container in the freezer to cool down fast; be careful not to freeze). Pour into unbaked pie shell. Cut a vent in the top crust and place over pie. Seal the top crust to the bottom crust.

Bake at 375 degrees Fahrenheit for 45 minutes. Remove from oven and cool before slicing. The filling sets as it cools.

Rebekah Luke

Ready to bake. I decided to make a pretty lattice top like the picture on the box of the Betty Crocker Pie Crust Mix.

Copyright 2011 Rebekah Luke




Seven Polynesian voyaging canoes

25 06 2011
Hōkūle a

Hokulea (photo courtesy of Wikipedia)

In this lifetime I’ve witnessed the revival of the Polynesian voyaging canoe.

One time, a man I was married to—a newspaper reporter and a sail-boater (before DH)—was excited about meeting the artist Herb Kawainui Kane whom he had just interviewed.

He saw Herb Kane’s beautiful paintings of double-hulled canoes under sail. He learned of Herb’s dream to build such a canoe in Hawaii that would make a voyage across the Pacific to the land of his ancestors in the way that the Polynesians first came to the Hawaiian Islands. He had an idea of what the boats looked like, and he was in the process of figuring out how exactly how to build them.

The reporter had crewed for Rudy Choy, a naval architect, from California to Hawaii on the Aikane II, a modern 65-foot catamaran built for his sunset dinner cruise fleet, on its shakedown voyage. He introduced the painter and the naval architect to each other, and that was about the start of the Polynesian Voyaging Society that celebrated the now-famous Hokulea’s 1976 voyage from Hawaii to Tahiti.

I was young and just a “fly on the wall” at the time, but that tidbit is true and a treasured memory of mine.

You can find out about Polynesian voyaging on this Polynesian Voyaging Society website. For more than a generation the organization has educated our island youngsters and the public with the ancient knowledge of traveling across the ocean without modern navigation instruments. PVS has played a major role in showing Native Hawaiians their ocean heritage.

Six of the seven voyaging canoes at anchor in Kaneohe Bay at Hakipuu this afternoon. The blue-toned scene is from a rain squall.

Fast forward 35 years to yesterday afternoon when seven Polynesian voyaging canoes called at “Hokulea Beach,” within Kualoa Park on Oahu where Hokulea was launched originally. These seven canoes began their voyage from New Zealand and are on their way to North America. They sailed from Nukuhiva in the Marquesas on June 2 and called at other Hawaiian islands to the east before reaching Oahu.

It was a wonderful sight to watch them enter Kaneohe Bay. The canoes represent Tahiti, Samoa, Fiji, Tonga, New Aotearoa, New Guinea, Vanuatu, Kiribati, and the Solomon Islands and are sailing together in a voyage titled “Te Mana O Te Moana.”

With sails furled and anchors down, the celebration continued on land today, with ceremonies, exchanges of greeting, singing, dancing, and eating.

Oahu islanders and visitors enjoy festivities at Kualoa Park.

DH and I rode our tandem bicycle from the studio to take it all in.

Our tandem rig. Miss Marvelous and her dad, far right, are anxious to show her Papa (DH) the canoes.

Copyright 2011 Rebekah Luke




My grandfather Chong’s house

19 06 2011

My mother's birthplace

Fathers Day 2011

My trip to North Kohala last Monday, Tuesday, and Wednesday with my cousin Nathan, cousin Ann, and DH to scout places and activities for a family reunion in 2012 included some sleuthing, at least in our minds!

I do apologize for keeping you in suspense by my last post. 😉

Our main quest was to determine whether or not the house our mothers, aunties, and uncles were born in (between c. 1905 to 1925)—in the ahupuaa (land division) of Ainakea—was still standing. One would think a simple phone call could give the answer, but I had gotten conflicting reports in recent years, and even last week! With my investigative reporter’s background, I had to fly inter-island and see for myself. DH and my cousins would corroborate the findings.

Wouldn’t it be wonderful if the house was still there? I imagined our other cousins could see firsthand during our reunion where their (grand)parents lived. We could walk the aina (the land) where our ancestors played and grew up before they moved to Honolulu in 1925 for higher education. I belong to the third generation, and the sixth generation has begun to show up. What an opportunity this could be.

My grandfather Chong How Kong, also known as Ah Nee, worked as the overseer for the estate of Dr. Benjamin Davis Bond (1853-1930), a physician, and his wife Emma Renton Bond (1866-1951). It’s located in the ahupuaa of Iole. Iole is next to Ainakea. Dr. Bond’s father, the very Father Elias Bond (1813-1896) was responsible for my grandparents’ emigration from China.

Today, there is a new land owner (New Moon Foundation) and the “Bond Historic District,” a 56-acre federally registered historic district, within its boundaries. The towns of Hawi and Kapaau and other tiny communities on the northern tip of Hawaii island to the end of the road are characterized by country living, attractive small-business establishments, and a tightly knit, caring community.

Now, about those conflicting reports. From time to time over the years various family members would revisit the old homestead and be welcomed on the property by whoever lived there. I was there in 1990 with DH and cousins Elly and Jim, and in 2003 with my friends Linda and Terry. Ann went with her husband (now late) cousin Anson a few years later. We each took the obligatory photo of us standing in front of the house.

In 1990, the front porch is enclosed and the kitchen wing Ah Nee built is still attached. That's my cousin Jim with a friend in the shade of the avocado tree.

View of the kitchen in 1990. During our family's time in the 1920s, bachelors lived in the house in the rear. My grandmother cooked for them as well as for her own family of 15 children.

View from the back of the house in 1990

Brenda greets us in 2003. The kitchen has been removed, and the house renovated. The porch is open, there are new windows on the side, and the cottage in the back is spruced up. At this time it is occupied by the Kohala Family Homeschooling Learning Center.

Front view with open porch

This 2003 photo shows new windows and paint.

After the magnitude-6.7 and 6.0 earthquakes hit Hawaii on October 15, 2006, I was curious how the house survived, if at all. By phone from Oahu I reached a woman who told me rather authoritatively that the house was still standing, but that it was tagged for demolition because of earthquake damage. Okay, that’s it, I thought.

A few times after that, cousins vacationing on the Big Island would call me for directions to the place. “Not sure if the house is still there,” I’d tell them, “but here’s how to find the site. Let me know what you find.” And I’d describe the wooden gate between two ironwood trees that opened onto the grassy driveway. Later they would say how they couldn’t find it. “Well, it’s a small house, and it’s some distance in from the highway,” I’d say.

Last year when I contacted New Moon Foundation to ask about the house and any educational programs it advertised on its website (research for the family reunion), the office had no idea what house I was referring to. That puzzled me.

Continuing in my search, my Facebook friend Anna, a widow of a Bond descendant, introduced me to her son Boyd, who lives in Kapaau and knows a lot of North Kohala history. He said over the phone when I called to make an appointment to meet him that the house was still there. Oh, yay! When we met in person just a few days ago, he reported, “No, sorry, it’s not.” Indeed when we drove by, finally, we saw from the highway that it was gone. 😦  In its place: a Matson container.

On the adjacent lot are some homes, with a bumpy road parallel to the property line. We drove up the road for a better look at the lot from the side and turned around half way when it got rougher. A dog started barking, and the neighbor emerged. “Go talk to her,” DH urged.

I explained why we were there, how sad the houses were torn down (there was more than one). Her name was Mrs. Castillo.  She said, “Oh, they weren’t torn down. They were moved away on a truck.” Imagine my surprise! She said the property was then graded and a new road was put in. “Before or after the earthquake?” I asked. “Before,” she replied. Hmmm …

Staff at New Moon Foundation was gone for the afternoon, so we planned to ask the next morning. Back at the Kohala Village Inn, while I continued to reflect on this news, I decided to look up the satellite map from Google.

I found the aerial view of the neighbor’s house, and I also saw our family house we were looking for. I was sure of it. I got excited! I thought, the house was moved all right, but just to a spot farther in on same lot. Now I really had to return to the spot to find out for certain.

The next morning at the Iole office I explained our quest. “I’m imagining our parents as kids playing with the Bond kids, and there must have been a short cut between the two places,” I said to the admin staff. They pulled up the Google map, the same map, and mentioned it was the place of the Meditation Hale (house).

They’ll take us there!  Of our entire scouting trip, that was the most joyous moment for me. Through the fruit orchards, down the gulch into the forest, and up a private trail. As we walked into Ainakea, it was plainly evident that our grandparents’ house was not there after all. That darned Google map is old!

Between the Meditation Hall in the rear of the property and the highway we found a rock terrace and a pair of orange trees remaining. Back in the studio I’m comparing the photos from different eras, wishing I would have thought to bring them on the trip in the first place.

DH and cousin Nate walk quietly past the Meditation Hale at Ainakea.

Looking toward the highway from the back of the property, you can see the ironwood trees where the old gate was.

Why do we care so much after all this time. Well, there’s just something about finding one’s roots, and my cousins will like to come here.

There’s still a missing piece to the puzzle. Where is the house? You know, we were so happy to walk on the land, we never asked New Moon Foundation the question.

The Matson container and me

Copyright 2011 Rebekah Luke




The house where Momma was born

14 06 2011

Yesterday I met a wonderful person, the great grandson of my grandfather’s employer. I came to my ancestral homeland to revisit the house on the land where mother was born. What did I find? Boys and girls, do I have a story to tell!

To be continued …

Copyright 2011 Rebekah Luke





Spring cleaning for summer

10 06 2011

It’s a little late for me to be spring cleaning. I mean, really late. But Chalida and her family are in town, and on Saturday they are coming here for several days to take care of the animals while DH and I take a scouting trip to North Kohala to plan a family reunion there for 2012.

Chalida, the daughter of my good friend Linda, lives and teaches in San Francisco. She, her hubby, also an educator, and two children ages 3 and 3 months are an adventurous family. A bicycle family. I think they may not even own a car and manage quite well, thank you, on two wheelers. They love to travel.

After a couple of nights at the Hilton Hawaiian Village that has a pool and lots of visitor diversions, they’ll drive here over the mountain. I’m happy to return the hospitality. Chalida and her sister Lisa picked me up (Lisa drove) from SFO and put me up one whirlwind weekend when I flew over to surprise Linda for her big birthday party. (Note: A great way to avoid jet lag, HNL to SFO. Take the red-eye flight on Friday night, party on Saturday, fly home Sunday, arrive for dinner.)

Mugshot, literally. From left, Chalida, me, and Lisa. A souvenir, with patina from the dishwasher, from Linda's birthday. We're modeling lipstick for Lisa's upcoming wedding.

The last time Chalida was here was for my and DH’s wedding, and she was just a tot. It will be great for her son to meet Miss Marvelous, I’m thinking.

Today I am still in the process of converting the studio to a guest suite for four. As you can imagine, all of you who have been here, it is a monumental task. It will be a transformation! I decided to do this for myself as much as for our friends.

Why did I wait so long? I won’t try to make excuses. Just trying to “talk” it out here to uncover some reasons and then promise not to do it again. Sort of like the promise I made when I said I would never move again. Because it’s so hard.

First, I’m part Chinese. What I consider messiness and clutter is just the Chinese way, at least from my parents’ generation, and I found this to be true when I visited Chinese homes in China. What a revelation! It’s a cultural carry-over. Like, it’s in our genes!

Next, I’m an artist/writer/producer, and there are ideas on the back of envelops, leftovers from an earlier project that got buried when I started the next one, all of that paper that I want to read some day. Even DH, who has looked down his nose at my things, my precious things like my beloved mug in the photo, finally admitted, “It’s hard.” We both crave the Zen look. (But do you know that in Japan people have separate “store houses”? I saw on TV.) In reality, our style is Eclectic.

Anyway, my intention is to toss, toss, toss. I believe when Nature appears with its disasters It spares those who have cleaned house. So I’m working on it. For a time I allowed www.flylady.com to be my coach. She says rearranged clutter is still clutter. (If you have CHAOS, Can’t Have Anybody Over Syndrome, you may want FlyLady to help you, but a word of warning, she sends you a lot of emails.) So I know the drill. I just have to put it into action. By tomorrow. I better get busy!

Copyright 2011 Rebekah Luke




All pau & ready for market

8 06 2011

Pau means finished. I finished two more of my landscape paintings. More trees. Patrons tell me they like the way I paint them. “Banyan Shade” needs a final varnishing as soon as it’s bone dry. “Welcome Spring” is framed, wired, and ready to leave the studio.

Banyan Shade, 16" x 20" Oil on Canvas

Welcome Spring, 14" x 18" Oil on Canvas

Please click on the PAINTINGS menu tab for other available art work. Thanks for visiting!

Copyright 2011 Rebekah Luke




Contributions by artists

8 06 2011

Much of what I learned about the business of art I learned from my time with the Arts of Paradise, a fine art gallery at the International Market Place in Waikiki, that kindly represented me for several years.

Artists Susan Rogers-Aregger, Susan Brooks, and Connie Hennings-Chilton were the co-owners who sought two- and three-dimensional work by local artists and priced them realistically for the buying public. I thank them so very much.

When I co-founded Hale Kuai Cooperative with Ka Lahui Hawaii and we opened a storefront, I applied many of the management skills they taught me to running our store that sold Native-Hawaiian-made products.

During the early Arts of Paradise days, we had frequent requests to donate our work. The gallery encouraged artists to share the explanation reprinted below with whoever asked for a donation.

While cleaning the studio today, I found it on Arts of Paradise letterhead, but I recall that it was originally shared by the artist Ramsay. The information makes sense to me, and it is useful even today.

CONTRIBUTIONS BY ARTISTS

The artist is often asked to donate art to worthy causes as a “tax-deductible contribution,” as a “form of advertising,” as a “goodwill gesture,” and as “the means to increased community exposure.”

However, many artists and most solicitors are unaware that the IRS views contributions made by artists differently than those made by any other contributor. Artists are not able to deduct the appraised or fair market value of their work. Artists must enter the cost of materials as a business expense rather than a charitable contribution.

At a benefit art sale or auction, payment for contributed merchandise is made in the name of the charity. The purchaser makes a tax-deductible contribution and receives a work of art; the organization gains needed operating funds; the artist has one less asset, an added business expense, no charitable deduction, no income from the sale, a devalued reputation because the work sold at less than market value and has “increased exposure” to a  group of  potential patrons now conditioned to acquire art through donation rather than direct purchase.

This situation is particularly difficult for artists living in an insular community like Hawaii, where patrons are few and the cost of living is high.

Organizations who wish continued support from artists should adopt the following guidelines:

Artists submitting work to charitable organizations should provide the suggested retail price and receive fifty percent of that price upon sale; unsold work should be returned to the artist.

The names of contributing artists should be listed in promotional material and printed programs.

Artists should receive thank-you letters with their checks specifying the amount of their contribution, the actual amount of the art brought at auction, and the name of the purchaser.

This arrangement will enable artists to provide work of importance to organizations and the community, while uplifting the image of art in Hawaii.

Copyright 2011 Rebekah Luke