On the cover of this journal we reproduce a detail from Hawaiian artist Carl F K Pao's Waikäne (reproduced in full on page vii). This painting distills many of the integrating themes of this issue, and especially the ideas of fl uid, moving masculinities across the time and place of Oceania. It represents the close connections between pasts, presents, and futures in Oceania, imaging male ancestors whose powers course through living men, in a river of time as the male waters, Wai'ololi, sinuously curve toward the waters of women, in relations of difference, complementary connection, and regeneration. Käne's 'ö'ö or digging stick is here re-membered as a phallic spear of connection bursting open the spring waters of Waikäne, linking blood and semen, stone and water, earth and sky. This is a powerful expression of Hawaiian masculinity, connecting embodied memories with gendered places and the sexualized fl ow of time. But, as with many essays in this special issue, its male potency emerges in relation-and sometimes in resistance-to the hegemonic forces of colonialism and contending imperial models of masculinity. Like Ty P Käwika Tengan's essay, the content and context of Carl Pao's broader corpus of painting and sculpture meditates on Hawaiian masculinities as framed by United States imperialism and militarism.The trio of indigenous Hawaiian and Mäori male authors in this collection-Tengan, Walker, and Hokowhitu-all insist on the crucial importance of colonialism in the construction of indigenous masculinities in both past and present. Through his study of a group of young Hawaiian men, the Hui Panalä'au, recruited as colonists for the United States in the Equatorial Islands between 1935 and 1942, Tengan refl ects on the dialogue between the masculine scripts of US patriotism and indigenous sovereignty. Like many Hawaiians, Tengan's own family history is inti-