Fine Line between Samoan and
Papalagi
At the very
beginning of Albert Wendt's novel, Sons for the Return Home,
there is a distinct clash between the Samoan culture and the New
Zealand culture. This is first apparent when the father notices two
gay men having sex on the ship to New Zealand and he is immediately
taken aback by how different the world is because of this first
impression. Through out the novel, there is conflict between the
protagonist's identity and whether he is Samoan or Papalagi. Wendt
draws in many themes and conflicts seen in most Post-colonialism
literature, including loss of Identity, Personal versus Universal
lifestyles and Traditional versus Contemporary life.
Even though the
conflict of identity is not apparent at first, it is easy to see once
the protagonist begins to see the papalagi girl. In the first
chapters of the story, we see that the protagonist very much
identifies himself as Samoan:
'I can compete with the best of them in the class as well. I speak
their language, their peculiar brand of English, as well as any of
them. They have to pretend I'm their equal, that I'm a New Zealander
[…]' (13)
This passages shows
how the protagonist differentiates between himself, a Samoan, against
the papalagis with great distinction. He does not want to be part of
their socio-economic grouping even if they accepted him. Though this
mindset changes slowly over time, the protagonist still sees himself
as mostly a Samoan until the end. Due to the papalagi girl, the
protagonist begins to slowly accept her as he falls in love with her.
However, there is still some resentment from being treated
differently and he shows that to her by letting her learn as she
joins for the church dance. As time progress, his identity shifts
further as he wants to marry the papalagi girl and raise their
“half-cast” child. This is a big step which is displayed as he is
telling his mother that he wishes to marry the girl:
Forgive me, he wanted to say, but didn't. There was nothing to be
forgiven for. Loving a papalagi girl was not a crime, a sin, a
betrayal, even though his mother and most Samoans saw it that way.
(134)
It displays his slow
transition as he is no longer rejecting the papalagi world as most of
“his” people do. After, the papalagi girl leaves him – per
request of his mother's wishes – he begins slowly falling back into
the Samoan culture; he returns to Samoa and tries to be happy there
with his family and learning about the history. However, he is not
content with their lifestyle and misses the papalagi world. During
the fight with his mother, he realises that though she preached the
Samoan ways, she never believed in them and had her own selfish,
individualistic motives that he was living by. In the end, he
returns to a fairly luxurious hotel and remains until he can return
to the papalagi world which he wants to be a part of even without the
girl.
The next conflict
within the protagonist is the conflict of individualism against the
family. As explained in the book and in lectures, Samoan culture is
very much based on the needs and desires of the family and that these
aspirations are expected to be put before one's own goals. At the
beginning of the novel, the protagonist is seen following these
standards while he is very successful in school, despite despising
his classes and his classmates. He only remains involved to keep
his parents happy and doing the best he can for his family – which
is earning a diploma and receiving a valuable degree at university.
However, as he falls more for the papalagi girl, his aspirations
change and focus more on him. One example of this is that he wants
to marry the papalagi girl against his mother's wishes. His mother
holds the traditional values of Samoa too close that it is selfish.
Later, the pattern reoccurs at the end of the novel after the fight
between the protagonist and his mother. The fight represents his old
lifestyle and trying to keep his mother and his family happy and
follow the ways of his culture; however, the selfishness of his
mother takes away from that because of her, her son is no longer
happy, in this case, the mother did not do what was the best for her
family, but what was best for her. The individualism of the mother's
character shows her society had changed, especially when she shows
the pride of living in New Zealand. The protagonists change comes
about when he realises this. He allows himself to transition to an
individualistic lifestyle that he had been rejecting for so long
because of his Samoan family virtues.
Finally, there is
also a clash not only seen within the character, but also the author.
This clash is the contemporary against the traditional. By looking
at the style and craft of the book we can observe these differences.
At first, his craft seems very traditional and Westerns. It is a
novel and it flows similar to most books, the way Wendt tells his
stories flows the same way. However, there are two subtle
differences that make his writing more contemporary. The first mark
of contemporary craft is very distinct, it is the absence of nouns by
leaving out character names and simple referring to people based on
their relationships or by using nouns such as he, she, the girl, the
boy, et cetera. This could possibly be an influence from the
traditional Pacific Island literature, as the stories were passed
down through generations orally and some names were left out. One
example of this is The Legend of the Turtle and the Shark
where the man does not have a name in the story “the name of the
man has long been forgotten,” this story only refers to the man
with nouns and not pronouns. The second mark of Wendt's contemporary
craft is the flashbacks to the protagonist's predecessor's history.
Though alone this may not seem out of the ordinary, due to the
absence of nouns in the story, this makes it much more complex.
Almost as if he is trying to unite his characters by using craft. The
novel displays a clash between traditional and contemporary worlds.
In conclusion, the
novel displays various concepts learned in lectures about how the new
generations are adjusting to the post-colonialism world. The
division is not only displayed in the protagonist and how his
identity is conflicted as he is growing up as a first-generation
Samoan immigrant in New Zealand, but also, how the author is
conflicted by the two worlds and their differences in contemporary
and traditional through his craft and style.